background image


BEK 2004


Fortunately the future of BEK was secured as we were granted Gouvernmental support from 2004 onwards. We had a hard fight lobbying towards the Parliament. In the end the Parliament decided to grant BEK NOK 500.000 for 2004.000 It’s not a lot and it’s not enough but it is still a major step in the right direction.

I checked the Parliament web site and was surprised to see that all of the political parties including right wing Fremskrittspartiet wanted to see BEK continue. That’s really nice!

Bergen senter for elektronisk kunst (BEK)

Komiteen viser til at Bergen senter for elektronisk kunst har gjort et fremragende arbeid for elektronisk kunst og er Vestlandets motsvar til Notam i Oslo. Det elektroniske kunstfeltet har opplevd en kraftig utvikling i Norge de senere år bl.a som følge av Kulturrådets satsing på feltet. Kulturmeldingen signaliserer at BEK-prosjektet bør videreføres bl.a gjennom “å tryggja ei basisfinansiering for BEK”.

Komiteen har merket seg at Stiftelsen Bergen senter for elektronisk kunst (BEK) har hatt en stor og viktig aktivitet i de årene de har fått prosjektstøtte fra Norsk Kulturråd. Komiteen er gjort kjent med at denne støtten fra neste år vil falle bort og at virksomheten derfor står overfor en akutt økonomisk krise. Dette vil ikke bare kunne ramme BEK men også andre virksomheter som Trondheim elektroniske kunstsenter (TEKS) og produksjonsnettverket for elektronisk kunst. Komiteen mener det er viktig at BEK kan opprettholde sin virksomhet.

Komiteens flertall medlemmene fra Arbeiderpartiet Høyre og Kristelig Folkeparti viser til inngått budsjettforlik som sikrer en bevilgning på 500.000 kroner til BEK.

Komiteens medlemmer fra Arbeiderpartiet viser til at Arbeiderpartiet i sitt alternative budsjett har foreslått 750.000 kroner til BEK under kap. 322 post 78.

Komiteens medlemmer fra Fremskrittspartiet viser til sitt alternative budsjett hvor Fremskrittspartiet foreslår 1 mill. kroner for å sikre videre drift av BEK.

Komiteens medlemmer fra Sosialistisk Venstreparti ser verdien i det arbeidet som gjøres ved BEK og viser til Sosialistisk Venstrepartis alternative budsjett der det foreslås å bevilge 1 7 mill. kroner til formålet.

Komiteens medlem fra Senterpartiet viser til sitt alternative budsjett der det foreslås en bevilgning på 500.000 kroner.

tl.objects upgrade


Out of the blue jasch mailed me compiled OSX updates of all my public Max externals today. Most of these was coded two or more years ago and I never had the time (nor the right version of Code Warrior) to recompile for Max OSX. I’ve been checking the objects today tracking down a few bugs that has to be corrected and updated the help files. I hope to upload the objects to my web site tomorrow or the day after.

Brian Eno back catalogue


I got a mail from Enoshop informing me that several Brian Eno CDs has been re-released at All Saints Records.

While at it I also checked out recent news at EnoWeb:
- Robert Fripp is bloging
- Eno and Fripp are currently collaborating on a new CD.
- There’s a lengthy Eno interview in David Whittakers memoir on the cybernetician Stafford Beer.
- Enos recent lecture for The Long Now Foundation is now available online.



The development of music is more dependent than any other
art upon the development of its technique. A truly new idea – at least as musical
history reveals – is hardly imaginable without significant changes in musical

A. Schoenberg: Problems
of Harmony
. 1934



We no longer think of the history of cinema as a linear march toward a single
possible language or as a progression toward perfect verisimilitude. On the
contrary we have come to see its history as a succesion of distinct and equally
expressive languages each with its own aesthetic varables and each closing
off some of the possibilities of its predecessors.

Lev Manovich: The Language of New Media p.8.

During DEAF’03 I bought a 3
CD collection of early electronic music
. One of the recordings that really
astonished me was Clara Rockmore playing “Valse Sentimentale” by Tchaikovsky
on a Theremin. The expressive quality of this kind of performances has since
been more or less lost in the further development of electronic music.

There has not been a lot of attention drawn to the 20th anniversary
of the MIDI protocol in January 2003.000 Even
if the development of MIDI as a standard for communication between musical devices
has been one of the major inventions of electronic music ever it leaves a lot
to be desired. The MIDI protocol is modelled after one of the instruments that
offers the least interaction and expression the organ. The most basic information
of the MIDI protocol is “note on” and “note off” messages.
Once you’ve programmed the synth to use a certain sound the ability to further
interact with the sound during performance is minimal: When to start when to
stop and also how hard to hit the key. Once the key is down there’s no further
possiblities of changing or moulding the sound.

The MIDI protocol provides some additional messages for expressive
means (breath control after touch expression). The problem is that except
for a crude joystick controlling pitch bend and vibrato and a single fader
hardly any keyboard provides additional support for continuous controllers.
In addition manipulation of continuous controll data is physically detatched
from the keys used to trigger the notes. This is very different from the way
you are able to mould the sound for the total duration of the notes when playing
violin flutes or singing.


Creative Commons License Licensed under a Creative Commons Attribution 3.0 Norway License. Web site hosted by BEK.