In that case, we are pleased to announce that Notam is holding three courses in studio production for young people: Recording, Mixing and Mastering, in collaboration with Oslo Public Library, Deichmanske during fall and winter 2017.

Course 1 – Recording. Saturday 28 October 11:00 – 15:00 at Oslo Public Library, Deichmanske, Hovedbiblioteket.
Here you get an introduction to the most common microphone types, and strengths and weaknesses in different recording situations. In addition, you will learn more about different stereo techniques, the relationship between direct audio and acoustics in the room where you record, miking and recording of the various instruments.

Sign up here

Course 2 – Mixing. Date not yet set, at Notam.
This course you will learn about recordings with different types of material, such as pop and rock, sinfonetta, choir and solo instruments. You will also, among other things, get an introduction to good strategies for organizing the audio material in preparation for the mix.

Sign up here or wait until date announced.

Course 3 – Mastering. Date not yet set, at Notam.
Mastering consists mainly of two parts: How to prepare the sound of the material and how to format the files so that they work optimally on the platforms they are publishing.

Sign up here or wait until date announced.

Welcome to Deichman and Notam!
Poster by Selma Benmalek.


12-15 October 2017
Oslo: Teknisk Museum, UiO department of Musicology, The Norwegian academy of music and Victoria Nasjonal Jazzscene

Sound and music are the original augmented reality technology. Throughout human history, sound and music have played an essential role in transforming the mundane into the sublime, turning everyday events into memorable milestones, and enhancing the flow of experience.

Sound designers, musicians, museum curators, game developers, researchers and others interested in the power of sound to create and augment reality are invited to participate in the Kyma International Sound Symposium, KISS2017 in Oslo Norway 12-15 October 2017. Join fellow participants exploring the uses of sound in Augmenting Reality through talks, live performances, hands-on sessions, and informal conversations over meals (which are included with your conference registration).

The full KISS2017 technical and creative program is available here. A few highlights from the international lineup:

• Tour and reception at the Norwegian Museum of Science and Technology, including a special lecture on computer music pioneer Knut Wiggen’s musical innovation during the early years of the EMS Electronic Music Studio in Stockholm (presented by NOTAM’s founding director, Jøran Rudi), followed by a science/art-themed concert at the museum.
• An evening at Norway’s premiere jazz venue Victoria Nasjonal Jazzscene featuring Deathprod/Supersilent members Helge Sten & Arve Henriksen (Norway) performing live Kyma electronics on a program that also includes sets by SØS Gunver Rydberg (Denmark) and Michael Wittgraf (USA)
• Presentations on designing sound for planetarium-presentation; listening to the past in museum exhibitions; learning how to listen with cochlear implants; sound and music for calming dysregulated children; cooperation between musicians and machines
• Technology talks including pitch-tracking of live audio signals to control game avatars in real time, multidimensional audio, ambisonics, head-tracking, sonifying geo-spatial data, Open Sound Control, connections between Kyma 7 and the Unity3d game engine, live performance of electroacoustic music for an audience wearing VR headgear, using physical objects to interact with digital sound synthesis and processing, using wireless sensors to control and manipulate sound, and integrating live dance with generative sound and video for mixed reality performances.
• Desktop Demo Sessions where you can speak to the presenters one-on-one and ask them questions about their work
• An Open Lab where you can ask questions and consult on your Kyma projects with fellow practitioners and the creators of Kyma 7
• Live mixed reality performances including:
• A performer running through the streets of Oslo & transmitting a live video feed to the audience as his geospatial data generates and controls quadraphonic processing of a live ensemble
• A live musical performance of a computer game where acoustic audio controls real-time decisions leading to a distinctive outcome on each play-through
• Mixed reality performances where physical objects, like Tibetan bells or balloons, control digital sound and image generation
• Performances utilizing new musical inventions like the Electronic Bull Roarer and a new input device inspired by Ssireum Korean wrestling
• Citizen journalism and crowd-sourced news as an augmented reality performance
• A performance that looks at how organizations can use language to alter reality and neutralize our position as workers
• A mixed reality performance where long-distance communications augment time and space and magnify our stories
• The sounds of writing create sound fantasies in the minds of the audience & then mutate into other sounds that augment and clash with those imagined by the audience

KISS2017 is an opportunity for anyone interested in creating sound for augmenting reality to immerse themselves in new ideas and experiences and to meet and learn from like-minded colleagues.
Registration includes talks, concerts, reception, lunches & dinners: 
Student discounts are available.
For travel and lodging information
Official KISS web site
To follow the latest KISS news and developments:

Organizers and Sponsors:
The Norwegian Academy of Music
University of Oslo Department of Musicology
Symbolic Sound Corporation
The Research Council of Norway

Contact the organizers

See you in Oslo!

Camille Norment’s art installation “Prime”(2016) is part of the La Biennale de Lyon, which opened on September 20th.
Hans Wilmer has developed the technology from “Rapture”(2015)  for audio transmission, this involves a software and a mechanical method, more specifically exciters that produce vibrations that is felt when sitting in the installation. The sound system is Camille’s own, and Hans has reconfigured the system and thus led it to a state where she can use it in various artistic contexts.
Prime  (2016)
haptic sound installation composed for benches and 4 voices
«Visitors enter a space filled with the sound of deep, resonant voices that form a pre-lingual polyphonic composition contemplating experience in the contemporary state of the world. The texture of the voices is akin to a humming, a meditation, a moan, or a chant. Sitting on one of a series of benches, the voices’ vibrations are felt directly through the body – it is as though they are physically communicating with you, drawing you into their sonic and psychic sphere, evoking something primal, visceral, bodily and universal.
This kind of vocalization has been replicated in various cultures around the world from the practice of ‘moaning’ from African American church, to Tibetan monk throat singing, to OM mantra mediation, and beyond. The sound could at once gesture to catharsis, a painful groan, a comforting meditation, or a kind of exalting orgasm.While drawing the body into the physical experience of the sound, “Prime” creates a constellation of cultural references that speak to a connectedness of sound, voice and the body’s experience.
The visual gaze is outwards to the sea or a busy pedestrian street – various scenes from various lives, but moreso is it internal, as the body is reflected back to itself through the sound.
During the opening days of the Kochi-Muziris Biennale in India, live performances by Camille Norment, Håvard Skaset, and Canartic vocalist Sujitha Pathur accompanied the installation.»

La Biennale de Lyon 2017:
«It is in a context of galloping globalization generating constant mobility and accelerated flow – the “liquidity” of the world and of identities, in Zygmunt Bauman’s analysis –, that the Biennale is exploring the legacy and scope of the concept of “modernity” in the art of our time. Bauman describes contemporary society in terms of a constant mobility generating a dissolution of relationships and identities, and an uprooting of “hypermodern” individuals. His critique of modernity, to which he ascribes a totalitarian essence in which security occupies an invasive place to the detriment of freedom, calls for a re-evaluation of the place of the individual in the world, so that the individual will remain able and wise enough to steer his way around in it.The Biennale takes its title Floating world from the Japanese word ukiyô, which describes a view of the world as impermanent and continuously renewing itself, a source of freedom and creativity. The libertarian attitudes of artists, who constantly extend the limits of the work of art to make it even more open to the world, are central to our concerns. The Biennale d’Art contemporain 2017, has dropped anchor in the heart of a place whose identity is partly shaped by the omnipresence of water, in a city “born of the waters”, through which the rivers Rhône and Saône flow. The Biennale reactivates an imagination carried along by the two rivers, generating a topography inspired by Édouard Glissant who wrote: “archipelic thought suits the pace of our worlds. It borrows from it what is ambiguous, fragile, and adrift. It allows for detours.” Some artists, such as Rivane Neuenschwander, Marco Godinho, Pratchaya Pinthong, and Julien Creuzet, are apologists for this poetics of chaos, dispersion, nomadism and movement. In the image of Hans Haacke’s huge white sail (Wide White Flow), or Shimabuku’skites (When Sky was Sea), a wind of uprisings, poetic brilliance and contemporary aesthetic explosions is set to sweep through the Floating worlds of the Biennale de Lyon.»