Henrik Frisk, saxophonist, photo by Karl-Martin Almqvist.

henrikfrisk.com

This site is dedicated to sharing information about what I do as a musician, composer and researcher. I will happily receive any kind of feedback, especially through posting comments in any of the two blogs, either the one dedicated to music or the one more geared towards thinking (through music). The site is definitely an infinite work-in-progress but hopefully you will not experience weird behaviour and broken links. However, if you do, please feel free to send me a note about what happened and how it happened.

I will attempt to use this site, among other things, as a virtual stage posting new recordings every now and then. Please check back regularly and thank you for visiting!




recent updates



2018-05-28 [Document]

ArtDoc - an Experimental Archive [slides]

A presentation on ongoing work on the development of a database for artistic practice and artistic research. The presentation was held at KTH in connection with Ludwig Elblaus public defence of his PhD thesis.

ArtDoc is an experimental archive primarily for documenting artistic practice. One of the ambitions is to address the question of how artistic practice may be documented in a manner that makes visible the processes in action. ArtDoc has its roots in research and artistic practice that began over ten years ago and preliminary tests shows it to be a useful complement to other means to document musical works and artistic processes. The particular case of open form works, works that in some respect are negotiated between the different agents involved, such as composers, musicians and members of the audience was a point of departure and has guided the development to a significant degree. The underlying structure of documentation classes is presented and some of the design choices are discussed. ArtDoc is still under construction but a working proof of concept will be released in 2018.

2018-05-28 [Document]

The archive that writes itself

In artistic research the question of how to document the artistic practice that is the focus of the research is important, but largely unresolved. This paper discusses the various ways in which the materiality of the artistic practice may be represented in different forms for documentation. Identified as a twofold processes in which it is first necessary to identify which kind of data might represent the materiality of the artistic process and then, to work out methods to document it, a number of different systems for documenting music is discussed. The particular case of open form compositions is introduced as an example of how aesthetic perspectives must influence the recording of the artistic process. The notion of the personal archive is further considered as a tool that allows for reflection and introspection, and leads to a discussion concerning different analogies of writing, and of perception as a form for writing. Artistic practice is a complex activity for which there will never be one universal method for documentation, and a preliminary conclusion is drawn that it is not in the structurality of the data that the potential lies, but in the way the different layers generated by the process are interconnected. Deconstructing the roles of the writer, and the reader and the different notions of writing, may widen the perspective and prevent the archive from restructuring and continuously narrowing down what may be seen as valid data in the materiality of artistic practice.
2018-05-28 [Document]

ArtDoc - an Experimental Archive and a Tool for Artistic Research

An article presented at CMMR 2017 in Porto, Portugal. Extended version selected for inclusion in an forthcoming publication on Springer.
2018-05-28 [Document]

Hell is full of musical amateurs, but so is heaven

An article published in Danish online publication Seismograf.

Today, when we think of musical performance in Western art music, it is easy to take for granted the division of labor between, for example, musician and composer. However, music has obviously been produced for many thousands of years without there being a need to compose and write it down before playing it. Most genres of music have sustained and developed without this split between creator and performer. In genres where improvisation play an important role the musician sometimes embodies both the creative act and the interpretativesimultaneously. In musics built on aural traditions the composed component is integrally bound to the musician. However, as advanced and standardized technologies for systematic notation of music were developed in Europe the role of the musician slowly began to evolve into two, often separate parts: one part primarily responsible for the construction of music (composer), and one part primarily responsible for the performance of it (musician). There is no doubt that composition and notation are extraordinarily ecient means to structure, communicate and preserve musical ideas and it is fair to assume that the development that led to the division of labor loosely sketched here participated in the advancement of Western music into new aesthetic areas.

2018-05-24 [News]

Lecture at KTH

At 14:15 on May 24 starts a mini conference with many interesting speakers such as Atau Tanaka, Professor of Media Computing, Dept of Computing, Goldsmiths, Univ of London and Roger Dannenberg, Professor of Computer Science, Art, and Music Carnegie Mellon University, USA. I will be presenting my ongoing work on a documentation database for artistic practice. ArtDoc: An experimental archive for artistic practice

See this link for more information.

2018-01-16 [Composition]

Machinic Propositions

An improvisation for video and audio.
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