På svenska

The contents of a lecture or workshop depend on time, resources and the participants' age, background and interests. Examples of what I can or usually do are:

• 1. Talk about my instrument building activity with images and film clips on things I can't, for practical reasons, show with instruments live.
  Materials about this here. This can work well as a point of departure for a concert or other specializations:
  
  
• 2. Unusual entries into instrument acoustics, the backyards of instrument systematics, many examples in images and sounds.
  This is a good introduction in its own right, or preferably if we have some time to work on building instruments.
  
  
• 3. Discussions about what improvisation is and why it can be interesting and important, possibly with different sound examples and questions for discussion.
  Earlier lecture/essay version here. This is good as an introduction to people who are interested in, or want to study improvised music.
  
  
• 4. About surrealism and music, historically, ideologically, sound examples, discussion.
  A long essay about this is unpublished, but an excerpt is published in Hydrolith, published by Oyster Moon Press., and a short commentary is to be found here. This is for people who are interested in either of the two topics music and surrealism, or ideological/cultural discussions in general.
  
  
• 5. About being a musician/artist and what it can mean. What is a "professional"? What is music/art? Why are they important?
  Some commentaries about this can be found in swedish here and here. Parts of this I usually include in no.s 1) and 4).
  
  
• 6. Different practical playing exercises and games: what is improvisation and what is music in practice?
  This is more of a playing workshop for practising musicians, but also for curious amateurs and non-musicians alike.
  
  
• 7. Hands-on building of contact microphones (requires preparations, materials and tools).
  More about it here. This is good for all kinds of experimental artists that want to expand their skills and possibilities in making new instruments, recordings or sound installations.
  
  
• 8. Hands-on workshop in experimental instrument building (requires a bit more preparations, materials and preferably a workshop or a tool collection).
  This needs preferably two days, although it's probably possible to achieve a little bit on one day as well. If there is more time, it is good to include sound walks, sound- and junk searches, playing exercises, preparing for and making a concert and making recordings. Ideally, at least a week's work is good for this, and it can be completed with more lectures and discussions, and cooperations with other artists.
  
  
• 9. How to play the saw.
  Introduction to this can be found in swedish here. Bring as many saws and bows of different kinds as you can, and we'll make them sing!

Here are many examples on workshops and works with adults, young people and with children.