I am happy to announce a new online course from RITMO: Pupillometry – The Eye as a Window Into the Mind. This is the third so-called Massive Open Online Course (MOOC) I have been part of making, following Motion Capture and Music Moves. I am excited to get it started on Monday, 16 January. Discover the applications of pupillometry research Pupillometry is a relatively new research method within the sciences, and it has wide-ranging applications within psychology, neuroscience, and beyond.

Today, I ran a workshop called Video Visualization together with RITMO research assistant Joachim Poutaraud. The workshop was part of the Digital Scholarship Days 2023 organized by the University of Oslo Library, four days packed of hands-on tutorials of various useful things. Presentation slides made by Jupyter Notebook Joachim has done a fantastic job updating the Wiki with all the new things he has implemented in the toolbox. However, the Wiki is not the best thing to use in a workshop, it has too much information and would create an information overload for the participants.

After two years in the making, I am happy to finally introduce our new online course: Motion Capture: The art of studying human activity. The course will run on the FutureLearn platform and is for everyone interested in the art of studying human movement. It has been developed by a team of RITMO researchers in close collaboration with the pedagogical team and production staff at LINK – Centre for Learning, Innovation & Academic Development.

I am happy to announce a new run (the 6th) of our free online course Music Moves: Why Does Music Make You Move?. Here is a 1-minute welcome video: The course starts on Monday (25 January 2021) and will run for six weeks. In the course, you will learn about the psychology of music and movement, and how researchers study music-related movements, with this free online course. We developed the course 5 years ago, but the content is still valid.

How does an “old-school” document camera work for modern-day teaching? Remarkably well, I think. Here are some thoughts on my experience over the last few years. The reason I got started with a document camera was because I felt the need for a more flexible setup for my classroom teaching. Conference presentations with limited time are better done with linear presentation tools, I think, since the slides help with the flow.

I have been teaching the course Research Methods, Tools and Issues in our MCT programme this semester. The last class was an “open clinic” in which I answered questions about academic writing. Here is a summary of some of the things I answered, which may hopefully also be useful for others. Formatting Your academic exam paper is not the place to experiment with fancy layout and formatting. Some basic tips:

I have spent the two last days at a “Train the Trainers” workshop organized by the Carpentries project. Here I will summarize some thoughts on the workshop, and things that I will take with me for my own teaching practice. The Carpentries The Carpentries project comprises the Software Carpentry, Data Carpentry, and Library Carpentry communities, with a shared mission to teach foundational computational and data science skills to researchers. I have taken several Carpentries lessons over the last years, organized by volunteers here at the University of Oslo.

The MCT master’s programme has been running for a year now, and everyone involved has learned a lot. In parallel to the development of the programme, and teaching it, we are also running the research project SALTO. Here the idea is to systematically reflect on our educational practice, which again will feed back into better development of the MCT programme. One outcome of the SALTO project, is a paper that we presented at the NIME conference in Porto Alegre this week:

I was at NTNU in Trondheim today, teaching a workshop on motion capture methodologies for the students in the Choreomundus master’s programme. This is an Erasmus Mundus Joint Master Degree (EMJMD) investigating dance and other movement systems (ritual practices, martial arts, games and physical theatre) as intangible cultural heritage. I am really impressed by this programme! It was a very nice and friendly group of students from all over the world, and they are experiencing a truly unique education run by the 4 partner universities.

I was invited to talk about my experiences with flipped classroom methodologies at a seminar at the Faculty of Humanities last week. Preparing for the talk got me to revisit my own journey of working towards flipped teaching methodologies. This has also involved explorations of various types of audio/video recording. I will go through them in chronological order. Podcasting Back in 2009-2011, I created “podcasts” of my lectures a couple of semesters, such as in the course MUS2006 Music and Body Movements (which was at the time taught in Norwegian).

After four years as Head of Department (of Musicology at UiO), I am going back to my regular associate professor position in January. It has been a both challenging and rewarding period as HoD, during which I have learned a lot about managing people, managing budgets, understanding huge organizations, developing strategies, talking to all sorts of people at all levels in the system, and much more. I am happy to hand over a Department in growth to the new HoD (Peter Edwards).

At NIME we have a large archive of the conference proceedings, but we do not (yet) have a proper repository for instrument designs. For that reason I took part in a workshop on Monday with the aim to lay the groundwork for a new repository: NIMEhub: Toward a Repository for Sharing and Archiving Instrument Designs [PDF] This workshop will explore the potential creation of a community database of digital musical instrument (DMI) designs.

Together with several colleagues, and with great practical and economic support from the University of Oslo, I am happy to announce that we will soon kick off our first free online course (a so-called MOOC) called Music Moves. Music Moves: Why Does Music Make You Move? Learn about the psychology of music and movement, and how researchers study music-related movements, with this free online course. [Go to course – starts 1 Feb](https://www.

My paper titled An action–sound approach to teaching interactive music has recently been published by Organised Sound. The paper is based on some of the theoretical ideas on action-sound couplings developed in my PhD, combined with how I designed the course Interactive Music based on such an approach to music technology. **Abstract **The conceptual starting point for an `action-sound approach’ to teaching music technology is the acknowledgment of the couplings that exist in acoustic instruments between sounding objects, sound-producing actions and the resultant sounds themselves.

I am currently in beautiful Aldeburgh, a small town on the east coast of England, teaching at the Britten-Pears Young Artist Programme together with Rolf Wallin and Tansy Davies. This post is mainly to summarise the things I have been going through, and provide links for various things. Theoretical stuff My introductory lectures went through some of the theory of an embodied understanding of the experience of music. One aspect of this theory that I find very relevant for the development of interactive works is what I call action-sound relationships.

I am teaching two courses this semester: Sound theory 1 (in English) Sound analysis (in Norwegian, together with Rolf Inge Godøy) In both courses I use Pure Data (PD) for demonstrating various interesting phenomena (additive synthesis, beating, critical bands, etc.), and the students also get various assignments to explore such things themselves. There are several PD introduction videos on YouTube in English, but I found that it could be useful to also have something in Norwegian.