Andreas Hiroui Larsson
Andreas Hiroui Larsson is a Swedish artist, musician, researcher, and writer.
Between 2020 and 2024, Larsson co-led with Johan Jutterström and Anna Lindal and completed the artistic research project Lethe, which explored forgetfulness as an artistic method. The project was funded by the Swedish Research Council and hosted by Stockholm University of the Arts. He is co-editor with Jutterström and Lindal of the anthology Lethe: On Forgetfulness as a Guiding Principle in Artistic Processes (Stockholm University of the Arts 2024).
Larsson conducts an interdisciplinary practice within which he moves in-between the identities of the artist, the musician, and the writer. His method of (non-)idiomatic thought, with which he contextualises cognitive science, philosophy, and ontology of art, literature, and music, enables the concepts and the materials to metaphysically play the roles and fulfil the purposes of one another. Thus, in terms of ontology, his works are—be it contemporary music, experimental literature, or textual graphic music scores—as much works of music and philosophy as they are works of visual art. Larsson is a member of several critically acclaimed contemporary music ensembles, and he is the author of novels, and works on aesthetics, forgetfulness, music and site, ontology, and philosophy of mind.
Praise for his interdisciplinary work Seduced by (a) last year (Thanatosis Produktion 2022):
“Enriching, intelligent and hugely rewarding.”
—Electronic Sound
“Allora, potremmo dire: la musica filosofeggia, il discorso filosofico diventa una performance artistica, e l’arte suona.”
—Music Map
“[E]n dialog mellan avantgardistiskt tonspråk och vad som känns som olika anföranden från diverse seminarieföreläsningar. Ibland fångas man av musikinspelningarna och ibland av innehållet i de akademiska utläggningarna vilket bildar en slags växelverkan när det gäller vem eller vad som tar platsen som det musikaliska i verket.”
—Nutida Musik
“Es geht dabei um fields of inquiry external to language und um non-linguistic performative acts, die dennoch auf ihre Weise Sinn machen.”
—Bad Alchemy
“A complex and dense, curious artefact; equally captivating and disorienting.”
—The Sound Projector
“Un lavoro serebrale e complesso incentrato sull’interdisciplinarietà di voci, impro jazz ed electro.”
—Il Manifesto
“Resultatet är ett fascinerande multimediaverk eller en text-ljud-bild-komposition med improvisation om man så vill. Ett intressant sätt att arbeta konstnärligt [...] samtidigt som det är experimentellt och utforskande.”
—Orkesterjournalen
Larsson's works have been published by Firework Edition and Firework Edition Records (SE), Stockholm University of the Arts (SE), Peter Lang (DE/US), Nutida Musik (SE), Relative Pitch Records (US), Lethe (SE/NO), Found You Recordings (SE), Olof Bright (SE/AT), Thanatosis Produktion (SE), Ideell Edition (SE), Pink Pamphlet (US/SE), Haphazard Music (SE), Ermatell (RU), and FMR (GB). His works are held in the collections of The Nobel Library of the Swedish Academy (SE), Princeton University Library (US), Archaeological Museum of Thessaloniki (GR), University Library Dresden (DE), Stockholm Public Library (SE), and Sachsska Children's Hospital in Stockholm (SE).
Between 2020 and 2024, Larsson co-led with Johan Jutterström and Anna Lindal and completed the artistic research project Lethe, which explored forgetfulness as an artistic method. The project was funded by the Swedish Research Council and hosted by Stockholm University of the Arts. He is co-editor with Jutterström and Lindal of the anthology Lethe: On Forgetfulness as a Guiding Principle in Artistic Processes (Stockholm University of the Arts 2024).
Larsson conducts an interdisciplinary practice within which he moves in-between the identities of the artist, the musician, and the writer. His method of (non-)idiomatic thought, with which he contextualises cognitive science, philosophy, and ontology of art, literature, and music, enables the concepts and the materials to metaphysically play the roles and fulfil the purposes of one another. Thus, in terms of ontology, his works are—be it contemporary music, experimental literature, or textual graphic music scores—as much works of music and philosophy as they are works of visual art. Larsson is a member of several critically acclaimed contemporary music ensembles, and he is the author of novels, and works on aesthetics, forgetfulness, music and site, ontology, and philosophy of mind.
Praise for his interdisciplinary work Seduced by (a) last year (Thanatosis Produktion 2022):
“Enriching, intelligent and hugely rewarding.”
—Electronic Sound
“Allora, potremmo dire: la musica filosofeggia, il discorso filosofico diventa una performance artistica, e l’arte suona.”
—Music Map
“[E]n dialog mellan avantgardistiskt tonspråk och vad som känns som olika anföranden från diverse seminarieföreläsningar. Ibland fångas man av musikinspelningarna och ibland av innehållet i de akademiska utläggningarna vilket bildar en slags växelverkan när det gäller vem eller vad som tar platsen som det musikaliska i verket.”
—Nutida Musik
“Es geht dabei um fields of inquiry external to language und um non-linguistic performative acts, die dennoch auf ihre Weise Sinn machen.”
—Bad Alchemy
“A complex and dense, curious artefact; equally captivating and disorienting.”
—The Sound Projector
“Un lavoro serebrale e complesso incentrato sull’interdisciplinarietà di voci, impro jazz ed electro.”
—Il Manifesto
“Resultatet är ett fascinerande multimediaverk eller en text-ljud-bild-komposition med improvisation om man så vill. Ett intressant sätt att arbeta konstnärligt [...] samtidigt som det är experimentellt och utforskande.”
—Orkesterjournalen
Larsson's works have been published by Firework Edition and Firework Edition Records (SE), Stockholm University of the Arts (SE), Peter Lang (DE/US), Nutida Musik (SE), Relative Pitch Records (US), Lethe (SE/NO), Found You Recordings (SE), Olof Bright (SE/AT), Thanatosis Produktion (SE), Ideell Edition (SE), Pink Pamphlet (US/SE), Haphazard Music (SE), Ermatell (RU), and FMR (GB). His works are held in the collections of The Nobel Library of the Swedish Academy (SE), Princeton University Library (US), Archaeological Museum of Thessaloniki (GR), University Library Dresden (DE), Stockholm Public Library (SE), and Sachsska Children's Hospital in Stockholm (SE).
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Papers by Andreas Hiroui Larsson
Oddly enough, given the situation sketched above of perceptual and conceptual unity in contemporary music, there are not only modernists but also contemporary critics and philosophers of music who have made normative claims preferring tonally centered European classical music over serial and atonal music. Roland Barthes approach to understanding music through a hedonistic framework, which is discussed below in chapter two, is in my view problematic because of its primarily perceptual perspective. R. A. Sharpe’s approach of music and language being analogous to each other contrasts with Barthes’ but it is equally problematic because of its predetermined conceptual perspective. Sharpe’s approach is discussed in the third chapter. In the fourth chapter I will give a brief summary of the discussions held, offer a few conclusive remarks as well as my speculative intuition of what the future of ontology of music may concern.
Books by Andreas Hiroui Larsson
Conference Presentations by Andreas Hiroui Larsson
Thesis by Andreas Hiroui Larsson
Oddly enough, given the situation sketched above of perceptual and conceptual unity in contemporary music, there are not only modernists but also contemporary critics and philosophers of music who have made normative claims preferring tonally centered European classical music over serial and atonal music. Roland Barthes approach to understanding music through a hedonistic framework, which is discussed below in chapter two, is in my view problematic because of its primarily perceptual perspective. R. A. Sharpe’s approach of music and language being analogous to each other contrasts with Barthes’ but it is equally problematic because of its predetermined conceptual perspective. Sharpe’s approach is discussed in the third chapter. In the fourth chapter I will give a brief summary of the discussions held, offer a few conclusive remarks as well as my speculative intuition of what the future of ontology of music may concern.