Sonic Life – Listening to NSU’s History

Lived Anthologies gathers the “sound worlds” of Nordic Summer University – the voices of keynotes, theoretical texts and artistic pieces that make up our archive. The project explores how we listen to someone’s voice, how it shakes us with a rattle or sway, a quiver or surge, a swell or a drop. The sounds collages play with the relationship between sense and sensuousness, a balance that voices must bear as they deliver their ultimatums in a unique aurality.

Below, you can find details of how to access the soundscapes of Lived Anthologies, which are being gradually released. The “listening stations” are scattered across the Nordic and Baltic region. Anyone can trigger and listen to the podcasts at these locations by downloading a free app. These locations reflection significant places in NSU’s history: the sites of our academic and artistic partners, our previous meeting spots, and places from our history.

Lived Anthologies is produced by researcher and sound artist Eduardo Abrantes

  1. This is a list of the works that will been given a sonic life:
  • Available:
  • Abrantes, E. (2017). Local sound families and a choir in Estonia: Inquiring into acoustic specificity through multi-layered soundscapes. In L. Greenfield, M. Trustram, & E. Abrantes (Eds.), Artistic Research – Being There: Explorations into the Local. Århus: NSU Press. (Read by Gry Buhrkall)
  • Upcoming:
  • Lagerström, C. (2015). Silent Walk: Unpredictable Encounters in Urban Space. In C. Fentz & T. McGuirk (Eds.), Artistic Research: Strategies for Embodiment. Århus: NSU Press. (Read by Katharina Stenbeck)
  • Koefoed, O., Kagan, S., & Dieleman, H. (2011). Sustensive Intercultural Chronotopes. In M. Paulsen, O. Koefoed, C. Ydesen, & J. Kromann (Eds.), Learning from the Other: Intercultural Metalogues. Malmö: NSU Press. (Read by Kate Donovan)
  • Riikonen, E. (2017). Entering Spaces, Creating Places: A Human Geographical Approach to the Production of the Everyday. In C. Friberg & R. Vazquez (Eds.), Experiencing the Everyday. Århus: NSU Press. (Read by Rosa Oikonomou)
  • Steinskog, E. (2005). The Decay of Aura – The Aura of Decay. In D. Petersson & E. Steinskog (Eds.), Actualities of Aura. Svanesund: NSU Press. (Read by Katharina Stenbeck)
  • Straume, I. S. (2011). The Political Imaginary of Global Capitalism. In I. S. Straume & J. F. Humphrey (Eds.), Depolitization – The Production of Global Capitalism. Malmö: NSU Press. (Read by Arlene Tucker)
  • This is how to listen to them:
  • Download the mobile app Echoes at: -this is a free app which allows you to listen to the different sound files at their physical locations.
  • Once on location (see list below), just open your app and click on the “near you” option to find the anthologies, they will be marked as blue circles (“echoes”) in the map, named “NSU Lived Anthologies”, and all you have to do to start listening is to walk into them. You are then free to explore the location, moving or standing still while the anthology is playing. All the “echoes” are placed in public spaces with free access.
  • These are the locations where all the anthologies are available for listening:
  • Copenhagen (Kongens Have)
  • Århus (Botaniske Have)
  • Stockholm (Gamla Stan, Skeppsholmen)
  • Göteborg (Slottsskogen)
  • Oslo (Vigeland Park)
  • Reykjavik (Grandi harbour area, around “the pond” / Tjörnin)
  • Nuuk (Old Nuuk area)
  • Tallinn (Hirvepark)
  • Vilnius (Bernardine park)
  • These are the special locations where only particular anthologies can be heard – these are more remote areas somehow closely related to the anthology itself:
  • Mooste village, Estonia (Abrantes, Local Sound Families)


In a text submitted for one of the most recent anthologies to be published in the NSU context, Artistic Research: Being There (2018), I described at length a constellation of voices belonging to a few friends and co-creators I happened to be sharing a lodging with during springtime 2015, in Mooste, southeast Estonia.

I remember them as they sounded to me. Their voices together in that place, as a family of consonant sounds. John, soft spoken and quiet even in motion, almost all breath and no tone in his often lingering words. Evelyn, resonant and sharp in her mezzo-soprano harmony of briskness and warmth. Sebastian, a soundscape of crescendos in his open, inviting tone, words following thoughts, climbing and descending, always gathering strength for a higher peak. Luisa, the voice of a listener and a storyteller, with a quick, lithe and rich tone, and a confident hesitation that allows others’ voices to rest with hers. Ming, both tentative and booming, a hyper masculine and well-rounded baritone, at times undercut by breathless reticence. Elsie, their child’s voice vibrating in low shy clarity, reminded me of the subtle presence of a single glass marble rolling, swerving and throwing sparks of light. Kathleen, the voice of a speaker and a witness, combining coloratura of expression with matter-of-factness of punctuation. Myna, her tone paused and deeply rooted, balancing arresting sobriety with an undertone of flashing curiosity.

In the current phase of my anniversary project – Lived Anthologies – I have been thinking about voices a lot, because I am actively searching for speakers for vocal narration. There is so much to consider when thinking about a voice, it brings with it not only the whole body, but also a biographical aura, a cultural context, and the radical lived presence of an acoustic soul.

Soul. Hard to use this notion meaningfully nowadays, if not metaphorically or poetically. The ancient Greeks had a lot to say about the soul. At least one of them, in at least one book, discussed it as a chariot pulled by two horses. One horse was good, the other not so much. The uneven communion which is the human soul therefore would move much like a sinewave. Sometimes going up towards heaven, other times falling down to earth. Pulsing imperfectly, vibrating constantly. Like its Greek namesake, the butterfly (ψυχή). Like a voice.

When listening to someone’s voice, one is shaken. Literally. If it is a rattle or a sway, a quiver or a surge, a swell or a drop – the associations are lively and active when we become aurally engaged. To frame and fasten the voice, the right one for the task at hand – for the saying, telling, or singing even of the kind of truth inherent in a text – is not easy. And these are not poetic texts I am dealing with. These are science, most of them, in the sense that science is when it aims at making sense non-sensuously. Sense and sensuous are the key terms, and it is voice that bears the brunt of the task, the heaviest corner of the pilgrim’s icon throughout the procession.

So I listen and make choices, and layer sounds upon sounds, sounds under sounds, masking and enveloping, sometimes outright misleading, using all the tools available to create a sensorially rich aural scenography of meaning. From letter to utterance, from utterance to swelling composition, with a more than healthy pinch of constant doubt thrown in. It is the due owed to creative bringing forth. Hope you listen for it when its summer embodiment comes around for a visit.

Eduardo Abrantes, Copenhagen, March 9, 2020

music theorists and meta scientists

Carl Lesche

A psychoanalyst, metascientist, philosopher and music theorist, Carl Lesche (1920-1993) was a member of the Nordic Summer University in its earliest days from 1952.

Robert Rauschenberg performing “Shotput + Elgin Tie” at a Fylkingen concert at the Museum of Modern Art, Stockholm, 13 September 1964. From Fylkingen Bulletin 1:1966. Photo: Hans Malmberg/Tio. Retrieved from

Also a member of the radical music group Fylkingen, Lesche was a theorist in the experimental music and performance field. His travels took him all the way to the Soviet Union, where he made some of the earliest recordings of orthodox liturgical music.

(from ‘A Short Biography and List of His Scientific Writings’ By Åke Åredal)

Sweet Water Rights

“I guess I’m trying to subjectify the world, because look where objectifying it has gotten us.”

  • Ursula K Le Guin

What happens when we start experiencing the world as a living subject? Through centuries, we have fostered a belief system stating the opposite, an idea that came with Christianity where the world was given to us humans as something to satisfy our needs with, ours to control. With the development of modern science, the world turned into a machine where the mechanistic worldview pulled the veil off of nature, wanting to expose her secrets to man. 

This mechanistic worldview has then turned forests into tree plantations, water streams to sewers, wildlife to cattle and mountains to mines. It has driven our culture to the brim of a environmental collapse on a global scale, a disruption of the conditions we need in order to live. Earlier this year the IPBES report came out, telling us that we are facing a tremendous loss of biodiversity with one million species threatened by extinction. While we are busy transforming nature to useless things we hardly need on the expense of countless ecosystems, we are losing the living world right before our eyes. It is a collapse with a magnitude hard to grasp. 

How can this even be possible?

Around the world, a movement that is asking this same question is gaining momentum: the movement for rights of nature where countries, states and cities are granting legal personhood to ecosystems. As people have, for decades, tried to understand how to protect their natural surroundings and finding the frustrating realisations that the old way of going about simply does not work. Trying to defend the living world, the ecosystems, has proven to be very difficult through the legal system. Something is fundamentally wrong within the system itself.

Lake Vättern’s splendour

“We need not only to talk about the environmental harm that is being done, we need to talk about the legal harm”

This is from Mari Margil, from the Community Environment Legal Defence Fund, when she visited Sweden in May 2019. She was invited to speak in a strategic meeting regarding the Swedish Lake Vättern. Margil has been a long time champion in the field of rights of nature, with merits such as being one of the advisors for the Ecuadorian government when rights of nature was written into the country’s constitution in 2008, the first in the world. She was also one of the writers behind the Universal Declaration of Rights of Mother Earth, written in the World People’s Conference on Climate Change and Rights of Mother Earth in Cochabamba Bolivia in 2010. According to Margil, in order to get to the root cause of the problem of the environmental crisis we are facing today, we need to see that the system itself is at fault. The legal system itself is not about defending nature, it is about regulating the harm done to it. If we ought to not harm nature, we need acknowledge the inherent rights it has to exist in the first place. 

In the system we live in today, nature is viewed upon solely as a property that belongs to us. Rights of nature is, on the contrary, a great shift of mentality in our relationship to nature, wherein nature is rather acknowledged as a living entity with its own inherent rights, and something we can have relationship with. There is a world of difference between these two perspectives. 

The above mentioned Lake Vättern has, in recent years, received attention due to it being subject to many threats. As the largest sweet water source in Sweden, a country known for its strict environmental policies, it is a ghastly realization to see how the body of water is treated today. This lake, providing drinking water to hundreds of thousands of people daily and a home for countless species, is being shot at by the Swedish military, which releases large amounts of toxins and violently disturbs the ecosystem.  In Norra Kärr, north of Gränna, the canadian company Tasman Metals is planning a day pit mine, just few kilometers from the lake that all likely would leak toxic waste water into the lake.

This has led to growing protest around the lake, with locals closest affected raising their voices and trying to protect the lake. And it has not been easy, or as easy as one thinks it should be when it comes to protecting something as fundamental as a source of water. The example with lake Vättern has led the rights of nature network in Sweden to take interest in it, as it exemplifies how a system is at fault when a lake of that importance does not have legal standing. The network has during 2019 addressed the rights of lake Vättern by writing the Lake Vättern Bill of Rights where the declaration was the basis for a tribunal during the Earth Rights Conference in Sigtuna May 2019. 

With the project Jagjord Jagvatten, we are trying to get close to the idea of carrying this movement that is growing both internationally, and in Sweden particularly. Just this year, one of the key people in the Swedish rights of nature movement and of those who we have interviewed, Pella Thiel, was granted the prestigious price of Årets Miljöhjälte, the Environmental Hero of the Year, by WWF for her work with the matter. With the work, we aim at exploring the different levels of the idea itself, what it means in terms of activism, law, art, philosophy and politics. What does it mean when we live in a culture, or at least try to approach it, where the world is a living subject? Where does it take us? 

Jagjord Jagvatten is a project run by Arci Pasanen and Phil Jamieson and the name of the project is a tribute to the Maori people, who after more than 100 years got the government in New Zealand to recognize the inherent rights of the Whanganui river. They have saying that goes “Ko au te awa, ko te awa ko au” translating to “I am the river, the river is me”.

Follow them on Instagram at @TracingtheSpirit and @jagjord_jagvatten

Cardboard, databases, numbers, words

The very start of Future Echoes reminded me that how an archive is organised, strongly influences and delimits how I can approach it. Initially, NSU’s archive material itself reflects (and once produced) how NSU organised its work. When such material is admitted into a public archive, the archive institution imposes organising principles on it that might have little to do with the nature of material itself. 

The complexity of the interrelations of these layers appear already when the digital database of the Danish National Archives, Daisy, responds to my search “Nordisk sommeruniversitet” with two separate archive creators

Initially I am thrilled, as the first refers to a «Kvindehistorisk samling» (Collection of female history) and a NSU study circle from 1972-73 about the role of the family in a capitalist society (as many academic environments in Scandinavia in this period, NSU had several explicitly Marxist fractions). The material in question was donated to Kvindehistorisk samling by an individual NSU participant independently of the rest of the NSU archive, hence the two entries. A further complication is that the material is located in Viborg in Jylland, some 300 km northwest of Copenhagen. 

The second entry, labelled «Nordisk Sommeruniversitet», reveals 13 archive series loosely distinguished by type of material and year(s) of origin. The type categories are a blurry mix of NSU’s own (board, study circles, sessions) and archival metalanguage such as»Emnespecifikke sager» (say, subject-specific issues). Each of the 13 series contain packages. 

I later realise that «package» refers to the brown cardboard boxes in which material is archived. Packages can be ordered by email and will subsequently be made available for physical browsing in a reading room at an archive of the reader’s choice. To confirm the order of a package can take up to 2 weeks. 

My idea for Future Echoes springs from that as a participant of NSU, I know that study circles of NSU have been, and still are, important to the development of academic and artistic feminist thought. I live neither in Copenhagen nor Viborg. I was planning to work in the reading room of the Danish National Archives in Copenhagen for some days on my way home to Oslo from arranging a writing workshop in Berlin. Apart from the package in Viborg, which other packages may contain material relevant to Future Echoes?

I turn to the Sessions series in the database, hoping for a chronological overview of NSU’s summer and winter gatherings. The database is organised per year. However not all years, and thus not all sessions, are visible. Upon arrival in Copenhagen I discover how the physical archiving constrains the digital in a fascinating and intuitively unnecessary way: The years and sessions visible in the database are decided by the size of the archival content and the volume capacity of the brown cardboard boxes. Whenever a cardboard box contains material dating from more than two separate NSU sessions, only the first and last year/session have been entered in the database.

Maybe the Study Circles series is a better bet? In real life, the Study Circles are the hearts of NSU, they are where exchange and work happens. I’m hoping for more info on the study circle from 1972-73 referred to in Kvindehistorisk samling, to decide whether I should order it from, alternatively travel to, Viborg. But there, the digital information has dissolved into years and numbers only.

I end up filling out order forms based on the serendipital strains of information I can draw from Daisy: The material from Kvindehistorisk samling, «Emnespecifikke sager», the Sessions package and some info about the Study Circles.

Hild Borchgrevink, 14 August 2019. More info at