The project "Make This Make Sound" started as a way to explore my relationship with playing violin. The violin was something I loved to play but it still felt separate from me. I wanted to handcraft instruments that had a more intimate relationship with the player. As the instruments were being created, I was interested to see how other players would feel about the instruments together in an ensemble, since playing in an ensemble was something that made me feel more comfortable as a musician. The instruments lend themselves to an experimental music making process as they do not have a history that must adhere to traditional Western music standards. A series of play sessions, some with only practicing musicians, and the rest with only amateur musicians were facilitated to gather feedback on how the instruments could be played. This was done to investigate the question: How can making new instruments facilitate an experimental music making process with musicians of varying skill levels? / Master of Fine Arts / The project "Make This Make Sound" started as a way to explore my relationship with playing violin. The violin was something I loved to play but it still felt separate from me. I wanted to handcraft instruments that had a more intimate relationship with the player. As the instruments were being created, I was interested to see how other players would feel about the instruments together in an ensemble, since playing in an ensemble was something that made me feel more comfortable as a musician. The instruments lend themselves to an experimental music making process as they do not have a history that must adhere to traditional Western music standards. A series of play sessions, some with only practicing musicians, and the rest with only amateur musicians were facilitated to gather feedback on how the instruments could be played. This was done to investigate the question: How can making new instruments facilitate an experimental music making process with musicians of varying skill levels?

I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.