øystein fjeldbo
Amalia Wiatr Lewis' SIGNALING (2022).
Sounddesign for installation and performance.
Exhibited at Vitensenteret Trondheim as part of Meta.Morf 2022 Ecophilia.
Live performance shown at Kunsthall Trondheim.
Documentation by Thomas Lewis.
Frå elektriske skogar (2023).
Music by Eiliv Andreas Myren Ribe and Øystein Fjeldbo
Dancers Shelmith Øseth and Nichola G. Stephen
Direction Silje Onstad Hålien
Produced by Samspill International Music Network and Riksscenen
Martinus Suijkerbuijk's Pater_Noster_2020 (2020).
Generative sounddesign installation.
Exhibited at Babel visningsrom for kunst.
https://martinussuijkerbuijk.net/pater_noster/pater_noster.html
Nære På (2020).
Single by Future Daughter, MBA and Mabi.
Everybody Dance (2020).
Interaction and light design.
Shown at The Performing Arts Museum (Stockholm),
Rockheim (Trondheim) and the Finnish Museum of Theater (Helsinki).
Future Daughter Katarakt (2021).
Video and music by Future Daughter.
Released as part of MUTANTS VOL. 5: FREE
https://mutants1000000.bandcamp.com/album/mutants-vol-5-free
Jon Vatne Kunsten å se kunst (2020).
Soundtrack by Future Daughter.
Naoko Breathe On Me (2021).
Future Daughter co-production.
Future Daughter Rebirth (2018).
Video by Martin Aspen and Christopher Heiberg, music by Ivar Djurhuus and Øystein Fjeldbo.
Future Daughter Assassin (2018).
Video by Ole Thomas Steinde, music by Ivar Djurhuus and Øystein Fjeldbo.
Future Daughter Transliteration album (2018).
Released on Virtual Feelings.
Future Daughter is Ivar Djurhuus, Martin Aspen and Øystein Fjeldbo.
ReMida SoundLab (2018).
Rebuilding old electronic instruments and other disposed equipments into electronic music instruments for children.
KO (2018).
KO is an audiovisual performance, made in collaboration between Future Daughter, Naoko and LuvOcean.
Premiered at Lokal Bar, Trondheim.
Future Daughter Ekphrasis EP (2017).
Released as a split with Matthew D. Gantts Plastics on Orange Milk Records.
Future Daughter is Ivar Djurhuus, Martin Aspen and Øystein Fjeldbo.
Artwork by Keith Rankin.
Inter 1/2 (2017).
By trying to obtain all information collected and stored online about the artist, using a controversial personality test to analyze this data, Inter 1 and 2 was early steps towards the ultimate goal to create a hybrid being between the organic man and his digital persona. The sound installations let the digital memories manifested themselves as entities moving virtually through the exhibition space amongst the visitors, wearing position tracking headsets with a realtime rendered binaural soundscape.
Commissioned by the Norwegian Confederation of Trade Unions.
Exhibited at Oslo Congress Center and Trøndelag Center for Contemporary Art.
(2 , 2) O (2017/2018).
Nazare Soares, Amalia Fonfara and Øystein Kjørstad Fjeldbo
( 2,2 ) 0 is a cinematic space where the visual external stimulus is removed. An invitation to navigate through a kinematic montage from a spatial psychoacoustic experience, where the imagination seeks to alter and proliferate, reverberating through the deep cavities of the psyche. The inner space is mapped conceiving another kind of system that isn’t represented spatially but is instead constructed from patterns of single events remapped from intensities, interferences and temporal sensitivity, delays and elastics rhythms. 8 chambers exist simultaneously, each one containing different facets of the acoustic information: it carry sonic characteristics, latency, loudness and modulations of rate and direction. In this way one is orientated within a journey through the architecture of one’s inner space and towards expanding qualities of the imagination, memory and emotion. An inner journey towards a spatiality of ambience, atmosphere and spatial self; the heart may pre-echo endless openings, without the eye, space is navigated by being remembered or imagined.
Exhibited at ArtScience Museum Singapore, Dora 1 Trondheim and Lademoen kunstnerverksteder Trondheim.
Proteus (2016).
«the problem is how to find life without contaminating the planet with bugs from earth»
Proteus is a multimedia installation made for the 2016 Metamorf-biennale in Trondheim. Inspired by the caution humankind shows in the search for extraterrestrial life, Proteus is built to search for one of our true valuable resources: human emotion. It does so by searching for and downloading videos with 0 views on the YouTube-servers, but with no filtering of any kind once it has found content. Doing this Proteus completely neglects the dilemma NASA faced when they found liquid water on Mars. It downloads and adds content to an audio-visual environment (a processing algorithm) in realtime, thus creating an ever expanding ecosystem simulation where the strongest light and loudest sound eats up or shapes the weaker.
Lydlab (2019).
Instrument and interactive system design for Rockheims new permanent exhibition.
Musikk på boks (2019).
Interactive sound design for exhibition at Ringve musikkmuseum.
NTNU Revolve promo (2018).
By Ivar Djurhuus, Andreas Pedersen Engeset and Øystein Fjeldbo.
Dans i Norge (2016).
Interactive sound design for exhibition at Ringve music museum.
Dains me Mæ (2017).
Interactive design for exhibition at Rockheim, Trondheim.
Maze of Senses (2017)
Bella da Silva Buxbom and Øystein Kjørstad Fjeldbo.
Maze of Senses is an interactive sound installation which puts its visitors blindfolded in a tight maze construction. Their natural listening is switched out with a headphone system which senses the proximity to the other visitors, assigning a synthetic sonic identity to each of the visitors. Maze of Senses is an experiment on the imagining of bodies, experienced through the connection / disconnection between the mental image of a body and the tactile sensation of touching one.
Commissioned by the IsFiT festival 2017.
Exhibited at Gallery KiT in Trondheim.
Morild (2015).
Interactive light installation for the Pstereo music festival.
HÔY LA
Live visuals.
Åse / Fjeldbo
Improvised electroacoustic music.
Bella da Silva Buxbom and Martin Palmers Deceptive Cadence (2019).
Interactive design and musical composition.
Magdaléna Manderlová's When clouds appear like rocks and towers (2019).
Interactive design by Øystein Fjeldbo.
Exhibited at Rake Showroom, Trondheim.
Enrique Roura Perez' From a neglected panorama and the poetics of sawing (2017).
Multichannel sound design by Øystein Fjeldbo.
Exhibited at Rake Showroom, Trondheim.
Virvel og Fanfare (2017)
Sound design for exhibition at Ringve museum, Trondheim.