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Petri Kuljuntausta

[ Profile ]

Petri Kuljuntausta is a composer, performer and sound artist. He is famous for music composed of sounds both natural and extraordinary. In close collaboration with natural scientists, he has composed an underwater installation from underwater materials and made music out of whale calls and the sounds of the northern lights. In many ways Kuljuntausta's art is based on good knowledge of tradition; environmental sounds, live-electronics, improvisation and collaborations with media artists has influenced him as a composer.

His recent composition project Northern Lights LIVE, based on soundscapes of the northern lights and feedback sounds, was performed at the ISEA2004 festival, 12th Symposium on Electronic Arts. The work was a vivid collaboration between art and science, recycling original field recordings of the phenomena as well as processing aurora borealis sounds. A forty-five minute long continuous audio-visual dialogue between nature's own soundscapes and their digitally altered, urban noise-art substitutes were created on stage.

Kuljuntausta has composed digital music for experimental films, visual art and dance projects, and made media and sound installations in museums, galleries and concert halls. His works has been performed in many European countries, Australia and the USA, and he has made recordings for various labels in Australia, England, Finland, France, Germany and the USA.

Kuljuntausta has collaborated with the experimental film director Sami van Ingen, urban architecture group Ocean-North, composers Morton Subotnick and Atau Tanaka, sound artist Richard Lerman and musician/philosopher David Rothenberg.

He is the author of an 800 page History of Finnish Electronic Music, On/Off, and in 2006 he published his second book, Äänen eXtreme ('eXtreme Sound', info), on his own approach to music. In 2005 he won an award, The Finnish State Prize for Art, from the Finnish government as a distinguished national artist.



Image by Antti Ahonen, 2002



The music of Petri Kuljuntausta




Latest Reviews, Interviews, Comments

CD Reviews

CDs / DVDs

Film and Video Music

Calendar ::: Concerts, Performances, Broadcasts



Restoration and Remastering

Lectures, Workshops, Related Activities












Kuljuntausta has created an extremely uncommon composition: a work based on sounds of Aurora Borealis. In the composition he used the sounds recorded by professor Unto K. Laine. First time in world history Laine has managed to capture sounds of Aurora Borealis. He offered his recordings to Kuljuntausta, who has used them as a basis for the composition work. Now it is possible to hear those sounds for the first time at a public concert.

In his art Kuljuntausta is concentrated on recorded sounds. He creates music, that has also called as 'concrete music'.

— "I travel with my recording equipments, capturing the environment around me. I pick up interesting sound moments, put them to my computer and organise this material to the reasonable entirety. Sometimes I might colour the work with some other sounds".

Kuljuntausta says, that his technic has similarities with the cinéma vérité, documentary-based filming style from the 60's.

— "The director took the camera, shoot the pictures, and edited the film, all phases done by him-/herself. I am doing the same thing with soundscapes".

He has recorded city sounds, for example, in London.

— "In my composition I connected very dense sound textures of Piccadilly Circus with a very heavy electronical sounds".

He has a goal that each of his composition has its own and recognizable soundscape.

— "It is up to the composer how far s-/he wants to go with processing of sound material. For me it is important that the work has its connection to the original environment, from where the sounds are taken from".

Harri Hautala
April 11th 2002, Aamulehti





Café bar's capuccino coffee machine sizzles and whistles so noisy, that it is difficult to hear talking. The composer Petri Kuljuntausta is not surprised about the sounds.

— "Those sounds might end up even to my compositions. I am a controversial person", the man introduces himself. "I am over-sensitive about noises, but on the other hand, I am grazy about them. Once I travelled to London just to capture noises, sounds of the Piccadilly Circus."

He is a composer of electronic music and an active board member at the association of Acoustic Ecology. The association's goal is to "raise up awareness about our acoustic environments". — "All projects dealing with acoustic environments and their's future, interests us", he describes.

— "When speaking about sound environments, we should be able to use other terms too than only the concept of noise. When designing living environments, we forget too often our acoustic environment and its effects upon us."

Sometimes the sounds of the big city annoys the man who has a sensitive ear. But on the other hand, it is always possible to use hummings, buzzings and tickings in the pieces.

— "It is not possible to completely eliminate noises from the city. It is ok, that we have sounds. A few weeks ago I was nearly killed by tram, because the vehicle was moving so silently."

Kuljuntausta is sad about the fact, that we are losing more and more noise-free, natural environments. His opinion is that these areas should be protected by law, as is the situation with national parks.

— "Think about this. Once my friend, who is a professional sound recordist, wanted to record pure nature sounds. He drove up to 50 kilometers away from the Helsinki city until he found a possible place, quiet enough, to start to capture pure wind sound. "

At the moment Kuljuntausta is interested about different intervention molecules, and how to transmit sounds through different materials to listener.

— "I am interested about water. It is fascinating to thought, that we don't always need a mechanism of ear to sense sounds. We can sense, for example, extremely low sounds through our body. In California they have arranged a water concerts, where audience was staying at pool."

Kuljuntausta lives outside of the Helsinki center. It must be quiet to live there? — "Ahh, yes... but not actually. The buzz sound of the heating system (radiator) can be really annoying sometimes. Somebody should make an invention, which helps to quiet the thing", the man says with smile on his face.

Tuire Junnonaho
March 24th 2002, Helsingin Sanomat





Midday sounds of the Helsinki city. Muzak and beep-sounds surround us. Rattle, humming and clatter everywhere. Unbelievable but true, these city sounds are the theme for the electronic music and sound art festival Helsinki Sound 2001 at Kiasma Museum of Contemporary Art.

— "One of the original themes was to compose all festival works from the sounds of Helsinki. Collect the sounds first and then investigate what we can do with the material", tells the producer and computer musician Petri Kuljuntausta.

— "While listening an environmental recordings, they always offer big surprises for listener. Unbelievable sound textures, lasting only a few seconds, and nobody could never organize them so well as you hear them. Several cheeping traffic lights, for example, might create interesting minimalistic textures when they are cheeping a little bit out of tune. Perhaps the people around me thought that I must be grazy when they realised that I was recording those sounds at traffic lights!"

Most of the city sounds that we hear are annoying or sounds boring. Kuljuntausta is interested about noises:

— "Yes, it is possible to say that I like noises. For years I have used so called indefinate sounds as a basis in my compositions. They have nothing to do with tones or pitches. It is their timbre that offer a great possibilities to my compositions."

— "Sometimes, for example, when the intensive composing period lasts several days, from morning till next early-morning each day, and the work is based on traffic and feedback sounds, I feel sick from the noises. There is no reason to listen these compositions all the day through. Same is true with all music. It is important to find right moments for the music. You can't listen concentrately all the time!"

At the concert the machine wizard stayed behind the sound processing unit and DAT-machine, without moving a bit. All sound material was taken from our living environment, so basicly all that I heard wasn't unfamiliar or odd to me. What was fascinating, was how Kuljuntausta connected and separated these sounds, and from that basis created an intensive sound trip.

— "We need present day sounds", says Kuljuntausta, who is internationally well-known figure in the field. According to Kuljuntausta, we should not deny the past, but we should be able to concentrate and listen to what is happening just right now around us.

— "Tape recorder, microphone and computer are the music instruments of our day. Violin, piano and electric guitar are high-tech from the past. At last we have equipments, which offer us a possibilities to record sounds from air, and create music from these sounds."

Kuljuntausta believes that the continuum of thousands of years old pitch-based music will be fade, little by little, finally comprehending just a one line in the whole music history:

— "We have grown up with pitch-based music thinking, but it is obvious what will happen in future. With sounds it is possible to do so much more, we don't need notes anymore. Pitch-based music is restricted by traditional rules and stiff systems. For me, the world of sounds, 'art of the ear', offer much more richer possibilities.

The music aesthetic of Kuljuntausta differ from the mainstream:

— "I don't want to express feelings with my music. Burning feeling and emotion in music, it is only a one tradition." But Kuljuntausta confess the power of traditional art:

— "I can't help myself with the music of, for example, Bach. It gives me unbelievable experiences, sometimes even too strong feelings. If the music moves me so deeply, I don't want to listen to it too often from that reason."

There are many kind of musicians working in the field of electronic music, off course, and all of them are not trying to alienate us from feelings:

— "All depends on a person behind the instrument. There are different values and prejudices in the music world and some people still has an opinion that the computer is some kind of evil machine. We are still living quite close with the ideas of Romantism."

I have been a witness of avantgarde music, its narrow front and the ideas of new art. The avantgarde art which will be soon followed by popular artists, who are always eager to use the fruits of their inventions. After listening to the most fascinating works performed at Helsinki Sound 2001, and comparing them to the last year's most "groundbreaking" rock record, Radiohead's Kid A, the latter is for me nothing more than a social MIDI-evening played by little boys.

Viljami Puustinen
Interview, January 2001





Tampere Biennale festival has invited the composer Petri Kuljuntausta and sound designer Juhani Liimatainen to give a Planetarium concert, based on a theme of 'sounds from space'. Kuljuntausta and Liimatainen has co-composed music from, for example, sounds of radio satellites, but more fascinating is the piece based purely on sounds of Aurora Borealis. Kuljuntausta's composition Aurora Borealis I is constructed from the 5-hour long original sound recording.

— "I have manipulated time and drama", the composer explain his role, "which means that I have cleaned the original tape from irrelevant hiss and noise sounds, then selected sound material for the work, and at last, organised the final work from the sounds."

The sounds of Aurora Borealis are already electronic music for the composer: — "Electronic music is based on electrons, and the same electrons are the reason for the Aurora sounds too. Actually, the Sun is like a giant-size sound generator!"

Are there any literary descriptions for these famous sounds? The scientist Unto K. Laine says that they might sound like a bang, crackle, whisper or sparkle. The composer Kuljuntausta could hear glissandos of female voices or solistic voice fragments.

In a convenient way the composer's feet leaves the ground: — "A composition of mine has travelled five years through the space, its goal is Titan, Saturn's planet. The probe Huygens, launched by ESA (European Space Agency), will land to the planet after seven year long trip, in the year 2005. Two years from now, I'll start to wait a messages of possible performances", Kuljuntausta tells me while looking up to the sky.

Tuire Junnonaho
April 11th 2002, Helsingin Sanomat




Latest Reviews, Interviews, Comments...


  • Electronically Composed Nature - Rondo magazine, editor Tanja Uimonen. 2/2006.
  • Sound Experiences - Synkooppi magazine, Musicology / Helsinki University, editor Tanja Uimonen. 4/2005.
  • Several Interviews for National TV and Radio after The Finnish State Prize for Art 2005, the recognition awarded by the Arts Council of Finland on November 23rd, 2005. (statement).
  • Audiovisual Stories by Dinah Bird, Petri Kuljuntausta, Maria Frepoli - Mustekala art netzine, captured by editor Sirpa Jokinen (rec. October 11, 2005). November 18, 2005.
  • "Traffic, Seagulls and Tons of Iron - even City Sounds are Valuable" – editor Markus Hippi interviews PK (May 26, 2005), published in Manifest06 Calendar / art book. Release date: November 10, 2005.
  • Background Noise - Jylkkäri 14/2005, Student Magazine of Jyväskylä University (pdf here), editor Olli Sulopuisto. November 9, 2005.
  • On Digital Music and 10th Anniversary of Charm of Sound - Culture News / Yle Radio 1, editor Riikka Lampinen. October 26, 2005.
  • Finnish Tones - TV Interview for the tv serie on Finnish music history (TV broadcast in 2006), editor Tiina-Maija Lehtonen, Finnish Broadcasting Company YLE, June 23, 2005.
  • New Albums – editor Kare Eskola interviews PK about digital music and net music, Finnish radio YLE Radio 1, May 28, 2005 & May 30, 2005 (2nd broadcast).
  • "Is it possible to collect sounds to museums? - In search of 100 sounds" – National Museum Day, editor Kaisa Osola interviews PK, Finnish radio YLEn aikainen, May 18, 2005.
  • ISEA2004 - Playing the Northern Lights, Computer Music Journal, Vol.29.1, Spring 2005.
  • Sounds in Space by Matti Ripatti, Helsingin Sanomat, April 7, 2005
  • Lumo-Klubi (Lumo Club) by Tommi Uutela, Skenet, April 2005
  • L'Arpa di Noè di Nicola Rainò, La Rondine, April 2, 2005
  • Musica Bestiale: "Do not feed the Artists", La Rondine, March 31, 2005
  • Kaffe's [Matthews] electricity, Kuljuntausta's Bruckner blocks by Vesa Siren, Helsingin Sanomat, March 10, 2005
  • Two Faces of Electronic Music by Vesa Siren, Helsingin Sanomat, March 8, 2005
  • Music for the Third Ear by Tommi Uutela, Skenet, March 2005
  • One life left to see differently (Sami van Ingen interview) by Risto Löf, Savon Sanomat, March 6, 2005
  • About the possibilities of performing Electronic Music live by Antti Nykyri / Theatre Academy of Finland, October 19, 2004
  • Flat soundscape increase stress by Salla Tuomola, Turun Sanomat 8.10.2004.
  • Muzikale Delicatessen: rond Petri Kuljuntausta – an 1-hour long composer profile on NPS - 4FM, Netherlands Programme Service (Dutch National Radio), October 4, 2004, The Netherlands.
  • 100 hundred soundscapes by Jarmo Papinniemi, YLE TV 1, September 15, 2004
  • In The Beginning, WFAE - World Forum for Acoustic Ecology Newsletter Vol. 1 / Nr 3, September 1, 2004.
  • Is it necessary to use the ear plugs? by Vesa Sirén, Helsingin Sanomat, August 25, 2004
  • YLE Radio history serie, YLE Radio 1 – "Experimentations and talk about Music", editor Paavo Helistö interviews PK, August 18, 2004.
  • Music News YLE Radio 1 – editor Tuuli Lempa Interviews PK, August 6, 2004.
  • Petri Kuljuntausta's music under water by Anu Ahola. Finnish Music Information Centre / FIMIC, August 4, 2004
  • People swim in water at Kuljuntausta's concert in Malmö by Rauni Magnusson-Brandt, The Finnish News Agency, August 2004.
  • Soundscapes of the Bars – editor Kaisa Osola interviews PK (realaudio), YLEn aikainen, July 8, 2004.
  • Rassegne. Oggi all’Exmà by M. P. (Review. Today at the Exmà), L'Unione Sarda, 28 maggio 2004, Italy.
  • Cities fascinates the Sound Artist. Petri Kuljuntausta left behind pitch-based music by Marjukka Vakkuri, Lapin Kansa 22.2.2004.
  • Artists Could Help To Listen To The Sounds of Space, Lietuvos Rytas, ”Savaitgalio” (info) 22.4.2003.
  • At Young Music - Electronic Visions From Five Countries by Asta Andrikonyte, Lietuvos Rytas 22.4.2003.
  • The Spaces of Electronical E-music by Egle Gudzinskaite, Siaures Atenai 10.5.2003.
  • Wired Nation - New Media Art From Finland by Oliver Lowenstein, ArtReview Vol. LIII, England.

    ... one of the finest electronic musicians I have ever heard. — Dario Martinelli, zoomusicologist

    ... I really enjoyed the works!! — Charles Dodge, composer

    Petri Kuljuntausta has belonged for more than a decade to a new generation of composers in Finland interested in experimental and electronic music, music incorporating environmental and concrete elements, and work in musical multimedia. — Organised Sound

    Petri Kuljuntausta opened his "tool-case", the performance was full of speed, energy and dynamics. Sometimes the abstract, not too over-intellectual, drive developed into a very intense bursts, spiral-kind of explosions, moving forward, somewhere between the areas of expressionism and impressionism. — Aamulehti

    The machine wizard stayed behind the sound processing unit and DAT-machine, without moving a bit. All sound material was taken from our living environment, so basicly all that I heard wasn't unfamiliar or odd for me. What was fascinating, was the way how Kuljuntausta connected and separated these sounds, and created from that basis an intensive sound trip. — Viljami Puustinen

    Petri Kuljuntausta started the concert by creating warm, futuristic atmospheres. He used sounds recorded from Helsinki and London and controlled them by touching sound controller's screen by his finger. The resulting sound texture were like an underwater, chilly, digital animal. — Rumba

    This was true Performance! (Kaiku) — Lackluster

    The Experimentalist of Our Time — YLE - Finnish Broadcasting Company

    Petri Kuljuntausta's music has published in Europe and the USA. During 2000-2001 he collaborated with a legend of electronic music, Morton Subotnick. Kuljuntausta's music is based on recorded, concrete sounds and soundscapes. ... there are electronic compositions constructed from, for example, violin tones; the music segments were originally produced by old-fashioned-way, then evaluated again and transformed into the unreal virtual instruments. Live-electronic processing brings back the performative side of the music. — Aktivist

    [The Spaces of Electric e-music]... secret and silent project reveals the space's mystery. The concert was like a continous music process, an endless continuum which doesn't have starts or ends, without time. Perhaps the rhythms of breath and pulse of heart had something similar when these sounds outbursted, transformed – the logic of vibration was hypnotizing. After half an hour "meditation" the ear was so sensible that it started to react to the most softest sounds or sighs. The music vanished time dimension, the space was filled up these almost noticable and irregular aurora borealis' sounds, and show how the music work was born this way. — Siaures Atenai

    "The Secret of Aurora Borealis" is formed from two kind of strategies of electronic music: field recordings and live improvisation. Research of space and soundscapes, recording them and using as a source material for electroacoustic music, is a very popular and interesting area these days. It is not totally new idea, but in this performance we saw real musicianship. Totally new kind of music style of electroacoustic music was born. — Muzikos barai

    When trying to find the most suitable description for this music, I think it is the concept of "acoustic photograph". — Juste Janulyte

    Petri Kuljuntausta, the authority of the Finnish electronic music, proved again of his masterity in live-electronics. During the concert performance the sound wizard stayed still, deeply concentrated, behind his impressive looking equipment board. His music was based on concrete sounds and reflected a deep knowledge of the old school of electronic music. Hypnotic music convey the listener along. Just a one violin note could give a solid ground for the whole performance. Skilful musician painted hypnotic visions. A composition based on four violin notes gave a possibilities for rhythmical development. The rhythmical figures were defined over and over, which blowed up listener's consciousness all over again. Devoted and spacious atmosphere lasted until the end of the performance. — Mikko Lehtola

    [An Exotic Landscape]... The sounds of Aurora Borealis were authentic, sounding like a fragile percussions, swishing of chains, sounds of bird wings, but also many other kind of associations started to live in listener's mind. The performance was full of magical peace — just as in the Northern sky. — Lietuvos Rytas

    Different kind of crackles, whistles and who knows what kind of sounds stimulated imagination. And this music doesn't suffer the coldness of the space - this is something very original! — 7 meno dienos

    ... great performance. Very delicate. There were also humour present in some works, we liked very much! — Daiva Parulskiene




    CD Reviews


    Latest CD reviews

  • Musicworks (Canada), Fear Drop (France), Sound Projector (UK), Paris Transatlantic (France), Splendid magazine, Vital Weekly, Stylus, Kindamuzik, Rytmi, Aksentti, World Forum for Acoustic Ecology Newsletter, Chroma 33 - Newsletter of the ACMA / Australasian Computer Music Association.

    See also comments about the new Momentum CD.
    Both of these compositions are successful explorations of granulated and time-scaled voice materials. He controls the overall design of these pieces admirably by combining voice materials of varying degrees of intelligibility with more extreme textural transformations. [Idea of Proof and The Waiting Room] — Computer Music Journal

    ...beautiful... can't wait to get the cd when it comes out. — Larry Polansky

    There were the more conceptual works where the recording is a vehicle for song or spoken word such as Petri Kuljuntausta's There was nothing in the room - "there was nothing in the room no furniture, no paintings, no printings..." he repeats, linking to William Furlong's Timeless which takes the first work spoken on Audio Arts magazine by Caroline Tisdall in 1973 - the word timeless. It is repeated and repeated until it merges with itself reducing to zero and referring to Ad Reinhardt's black square paintings. — Log Illustrated Ten

    I was really thrilled listening to it, not knowing that it would appeal to me so much. I especially liked the tracks Momentum and Freedom. — Inner Space

    ... recordings sound wonderful, inspired, well considered! — Aaron Ximm, Quiet American

    A powerful study of kinetics and a work that revels in a modern world of motorised transport and compression of time through speed. [Vroom!!] — Chroma (ACMA)

    The compositions are based on strong structural ideas, they're brilliantly expressed, indicating an aesthetic which comes from the joy of skill. — Rytmimusiikki magazine

    You can hear a lot of fresh and strong compositions, great sound colours and good playing... — Helsingin Sanomat

    The music is airy, there are great sounds and important nuances. — Keskisuomalainen

    Kuljuntausta's music is based on rich sound colours and continuum of inventiveness nuances... there are a lot of hard work and thoughtfulness behind the music. — Rytmimusiikki magazine

    The machines and technology are in Kuljuntausta's possession and the music is full of life, breathing naturally. — Jazzlt! magazine

    Kuljuntausta has written his compositions carefully. Structures are well thought... Strength attitude and adventurous spirit travel in hand in hand. — Forssan Lehti

    ...the music is based on sounds, shades and nuances, which all has an important role in the composition work of Kuljuntausta. — Keskisuomalainen

    The composer Petri Kuljuntausta doesn't care about the styles or categories when he build his own ideology. — Aksentti!

    An excellent combination of text & sound. [The Waiting Room] — Inner Space

    Idea of Proof by Petri Kuljuntausta mangles spoken word down to a cheery babble. — Lloyd Barrett / 4ZzZ - Atmospheric Disturbances

    It is excellent! And a great tribute to your work. [Sounds!] — Andy Kettle

    It is amazing CD! All works marked by strong individuality. [Sounds!] — Mitsuru Yoshino

    (Petri Kuljuntausta's composition) Momentum presents the best heritage of ambient music and Brian Eno. — Jukka Mikkola, Space Junk editor



    CDs / DVDs (part I)



    CDs (part II) New Arrangements, Remasteration and Restoration of the Historical Tape Works



    Film and Video Music


  • Three Films (2006, video-DVD) 60'

  • Incl. Days, The Blow and Texas Scramble. Publishing date: spring 2006
    Directed by Sami van Ingen. Electronic music by Petri Kuljuntausta. Production: Jinx Ltd. Financially supported by Arts Council of Finland and Luses - The Foundation for the Promotion of Finnish Music. Music composed at the Meadow Path studio and MuuMediaBase studio.

  • Tomato One / Navigator (2006) 6'

  • Film directed by Sami van Ingen, Navigator composed by Petri Kuljuntausta. Production: Jinx Ltd. Music composed at the Meadow Path studio. Source sounds (Beluga Whale) recorded by Jim Nollman. First Performance: EXPO2005, August 2005, Aichi Japan. First Performance of the final version: Experimental Intermedia Festival, March 13th 2006, New York USA.

  • Junction (2006) 8'

  • A dvd directed by Jacques Coelho, Four Notes composed by Petri Kuljuntausta. Music composed at the Meadow Path studio. First Performance: The Centre for Creative Photography 2006: 'Space - Man' at Galleria Harmonia, January-February 2006, Jyväskylä.

  • The Days (2000) 16'

  • Directed by Sami van Ingen. Electronic music by Petri Kuljuntausta. Production: Jinx Ltd. Financially supported by AVEK and VISEK. Music composed at the Meadow Path studio. First Performance: Tila 45, October 30th 2000, Helsinki.

  • Video Surveillance (1998)

  • Directed and soundscape work composed by Petri Kuljuntausta. Commissioned by Earnet / Mathias Fuchs - Sylvia Eckermann. Based on the soundscapes of Tampere Hall, soundtrack composed at the Meadow Path studio, video edited at MuuMediaBase. FP:
    Internet I (Austria), Internet II (Canada).

  • The Blow (1997) 21'

  • Directed by Sami van Ingen. Electronic music by Petri Kuljuntausta. Production: Jinx Ltd. At the collection of
    KIASMA Museum of Contemporary Art. Financially supported by SES, AVEK and VISEK. Music composed at MuuMediaBase studio and the Tunnel Street Studio. FP: January 30th 1997.

  • Texas Scramble (1996) 21'

  • Directed by Sami van Ingen. Electronic music by Petri Kuljuntausta. Production: Illume Ltd, Jouko Aaltonen. Co-producer: Finnish Broadcasting Company YLE, Eila Werning. Financially supported by AVEK. Music composed at the Tunnel Street Studio studio and MuuMediaBase studio. FP, theatre: Kino Engel, April 4th 1996, Helsinki Finland. FP, television: February 27th 1997, Finnish Broadcasting Company YLE, TV 1.

  • LMCX (1994) 4'

  • Directed by Jacques Coelho / KUD video production. Based on the composition 'Descendere' (for String quartet & synthesizers) by Petri Kuljuntausta. FP: Gallery Finnfoto, August 12th - September 4th 1994, Helsinki Finland.

  • Bad Habit (1993) 5'

  • Directed by Jacques Coelho / KUD video production. Based on the composition 'Bad Habit' by Petri Kuljuntausta. Realized in the studios of Department of Communication, University of Jyväskylä, Finland. FP: Jyväskylä Winter Festival, February 3rd 1993, Finland .

  • La Planete Étrange (1992) 6'

  • Directed by Jacques Coelho / KUD video production. Based on the composition 'Basics' (from the CD VISIONS AND PLAY) by Petri Kuljuntausta. Realized in the studios of Department of Communication, University of Jyväskylä, Finland. FP: Place Galilée, Médiathèque de Louvain-la-Neuve, June 1st - July 11th 1993, Brussels Belgium.

  • La Planete Sauvage (1992) 7'

  • Directed by Jacques Coelho / KUD video production. Based on the composition 'Clanger' (from the CD VISIONS AND PLAY) by Petri Kuljuntausta. Realized in the studios of Department of Communication, University of Jyväskylä, Finland. FP: Place Galilée, Médiathèque de Louvain-la-Neuve, June 1st - July 11th 1993, Brussels Belgium.




    Calendar ::: Concerts, performances, broadcasts...



    Image by Antti Ahonen, 2002







      • Collaborative project w/ Ros Bandt, [under work] 2005.

      • Collaborative project 'Fire & Water' w/ Thomas Gerwin, [under work] 2005.

      • Zoomusicological composition project w/ Dario Martinelli, [under work] 2005

      • Whale sound composition & video projects w/ Jim Nollman, 2004-

      • Duo concert w/ voice performer & long string instrumentalist Yrjänä Sauros, Helsinki 2004.

      • Collaboration w/ Rihmasto at Pauanne festival, July 17th, 2004.

      • Duo and Trio performances as Reward: 10.000 ants w/ Markus Reuter [+ Pat Mastelotto, King Crimson], 2004- .

      • Recording sessions with the members of the group Centrozoon, (Tim Bowness - Vocals, Markus Reuter - Touch Guitar & Electronics, Bernhard Wöstheinrich - Electronics), 2004.

      • Performance w/ Jarkko Lahti [Rihmasto] and Lauri Luhta, Cable Factory 2004.

      • SoundHappensTM — sound performances with 1) wind player Hepa Halme, 2) zoomusicologist Dario Martinelli, 3) audio researcher Unto K. Laine, 4) composer Juhani Nuorvala, 5) sound designer Juhani Liimatainen, guitarist Jukka Orma & artist Sami van Ingen, December 7-10, 2003, Galleri Leena Kuumola, Helsinki.

      • Duoviri performances w/ Lauri Luhta, 2003.

      • Sound performance w/ Helmut Lemke, 2003.

      • Trio performances as Electric Picnic w/ wind player Hepa Halme and guitarist / sound sculptorist Jukka Orma, 2003-.

      • Concert performances and sound projects w/ wind player Hepa Halme, 2002-.

      • Electronic compositions and sound projects in collaboration with sound designer Juhani Liimatainen, 2002-.

      • Aurora Borealis 1 soundscape composition project in collaboration with professor Unto K. Laine [Helsinki University of Technology, Laboratory of Acoustics], 2002-.

      • Music (six-channel work) for an exhibition for the Ocean North architecture group, Milan Italy, 2002.

      • Soundscape composition project in collaboration with Morton Subotnick. [Mort's homepage], 2001.

      • Soundscape composition project in collaboration with Atau Tanaka 2001.

      • Soundscape composition project in collaboration with David Rothenberg, 2001.

      • Collaborative concert [as a member of LumoDuo] with the group Giant Robot, 2000.

      • Collaboration with an artist group OLO, 2000.

      • Performances and collaborations w/ text writer John Richardson, since early-90s.

      • Sound installations in collaboration with the visual artist Sami van Ingen, 1998 -.

      • Collaboration with the contemporary dance group Physical Art Theatre, 1998.

      • Compositions based on text reading by Chris Mann, released on the Frog Peak Collaboration project CD 1997, produced by Larry Polansky, and on the Sounds! CD, 1999.

      • Helsinki Soundscapes created for the global sound and light installation created by Thomas Gerwin [ZKM], 1997.

      • Live-electronic performances with a composer Juhani Nuorvala and as LumoDuo, 1997-.

      • Music for the Films and Videos directed by Sami van Ingen, 1995-.

      • Media and Video works in collaboration with director and artist Jacques Coelho, 1992-95.







    Lectures, Workshops, Related Activities...


      • Editor: Charmed Sounds radio programmes on electronic music 1997-2005, Finnish Broadcasting Company YLE Radio 1 . [Reviews: HeSa April 7th 2005, HeSa Feb. 19th 2003, HeSa Sept. 30th 1998, HeSa Dec. 28th 1997.]

      • Lecturer: 'Soundtracks in Video Art', Theatre Academy / Department of Lightning and Sound Design, Tampere. September-October 2006.

      • Juror: Radio Festival – 'Sound Composition' Category, member of the jury w/ Juhani Nuorvala, Eino Salmelainen Hall, TTT Theatre, April 27-29, 2006, Tampere.

      • Lecturer: 'Aesthetic of Sound', Theatre Academy / Department of Lightning and Sound Design, Tampere & Helsinki. January-March 2006.

      • Lecturer: 'Sound & Environment', UIAH / Medialaboratory, Helsinki. February 6-10 2006.

      • Lecturer: 'History and Theory of Sound Art', Tampere Polytechnic School of Art and Media, Tampere. January-September 2005.

      • Lecturer: 'New Media Composition', UIAH / Medialaboratory, Helsinki. April 18-22 2005.

      • Lecture: 'Low Sounds in Music and Environment', Centre for Music & Technology / Sibelius Academy, Helsinki. January 26th 2005.

      • Lecturer: 'Aesthetic of Sound', Theatre Academy / Department of Lightning and Sound Design, Tampere & Helsinki. January-February 2005.

      • Lecturer: 'Sound & Environment', UIAH / Medialaboratory, Helsinki. November 8-12 2004.

      • Lecturer: 'Sound & Environment', UIAH / Medialaboratory, Helsinki. January 26-30 2004.

      • Lecture: 'Northern Lights', ISEA2004 Festival, August 17, 2004, Kino Kosmos, Tallinn Estonia.

      • Jury member: Radio Festival – 'Sound Composition' Category, member of the jury w/ Juhani Liimatainen, Eino Salmelainen Hall, TTT Theatre, May 5-8, 2004, Tampere.

      • Lecture: 'Sound Art: Art for Ears', Pori Art Museum. December 10 2003.

      • Lecturer: 'Soundtracks in Video Art', Theatre Academy / Department of Lightning and Sound Design, Tampere. November 3-11 2003.

      • Lecture: 'From Sounds to Words, from Words to Sounds', Liberated Words at Kunsthalle Helsinki. October 21 2003, Helsinki.

      • Co-Organizer: Silence Day 2003, co-produced by Finnish ecology and nature organizations.

      • Co-Organizer: 'Fellowship of Sound: MA in Sound Design for New Media', w/ Antti Ikonen (Uiah/Mlab), Juhani Liimatainen (TeaK/Theatre Academy), Kalev Tiits (Sibelius-Academy), Otto Romanowski (Sibelius-Academy), Ilkka Niemeläinen (Cartes), Sophea Lerner (Sibelius-Academy), Andrew Bentley (Sibelius-Academy), Shinji Kanki (Sibelius-Academy), Paivi Takala (Stadia), Tommi Paju (Stadia), Ari Outila, Marko Kataja.

      • Lecturer: 'Digital Sound course', Art Academy, Turku. March 2003.

      • Lecturer: 'History of Sound Art', Art Academy, Turku. November 2002.

      • Lecturer: 'Aesthetic of Sound', Theatre Academy / Department of Lightning and Sound Design, Tampere. October-November 2002.

      • Curator: Silent Waters, The Silence Day's concert project at the cinema theatre Orion, October 8 2002 Helsinki.

      • Co-Organizer: Silence Day 2002, co-produced by Finnish ecology and nature organizations.

      • Lecturer: 'Soundscapes and Acoustic Ecology', Tampere Polytechnic School of Art and Media, Tampere. September 19 2002.

      • Lecturer: 'Extreme Music: Present situation and Future', Jyväskylä Arts Festival., July 2002.

      • Writer: ON/OFF - From Ether Sounds to Electronic Music, a book about the early history of Finnish electronic music. Published by KIASMA Museum of Contemporary Art & LIKE Publishing Company. Publishing date: June 5 2002. Format: 800p, ISBN 951-578-934-6 [in Finnish]. [Articles / reviews: I mediumi 3.1. / m-cult, Pop magazine 2003, I HeSa November 21 2002, Radiomafia/Cafe Veijon baari November 17 2002, Taide magazine fall-2002, Rytmi magazine 5/2002, Rumba magazine 20/2002, I (webcast) YLE TV2/Kulttuuriuutiset June 5th 2002, I & Ib (webcast) YLE/Kurt, I YLE-Radio1/Musiikkiuutiset June 6 2002, Aamulehti April 11 2002, Helsingin Sanomat November 6 2001, Kiasma magazine 8/2000.]

      • Curator: Live-Art residencies in England, organised by Arts Council of England, Finnish Institute [London] and Central Committee of Arts in Finland, 2002.

      • Co-Curator: ARS Radio Ambient City at 103.1 MHz, December 20th 2001 12am-5pm webcast and local radio broadcast of Charm of Sound Live. Produced by KIASMA Museum of Contemporary Art and Charm of Sound.

      • Co-Organizer: Silence Day 2001, co-produced by Finnish ecology and nature organizations.

      • Production, pre-mastering and digital audio restoration of the first Finnish electronic music works composed in 1958-1963 for the CD compilation ON/OFF [Kiasma Records NYK-001, 2001], published by KIASMA Museum of Contemporary Art.

      • 'The Avant-garde of Electronic Music: Seminar on the Future of Content Creation and Distribution', a speech given w/ Richard Lerman, Atau Tanaka and David Rothenberg at Nokia Research Center, January 12 2001, Helsinki.

      • Lecturer: City University Music Department: 1) About my compositions 2) Recent Finnish Electronic Music, May 20th 2000 London. The second lecturer at the seminar was composer Charles Dodge.

      • Curator: Sound Box 2.0, Electronic Music and Sound Art webcast project by KIASMA Museum of Contemporary Art, Helsinki 1999. [Article/info: I Helsingin Sanomat May 5th 1999, Computer Music Journal Vol. 23 Nr 2 / Summer 1999.]

      • Production, curatorial work and pre-mastering of the electronic music CD compilation Sounds!, [Charm of Sound CSR-0199], 1999. [reviews/news: I Computer Music Journal 4/2000, II 4ZzZ - Atmospheric Disturbances, III Splendid, Leonardo Music Journal 2000, Aksentti magazine fall-1999.]

      • Curator: Sound Box 1.0, Electronic Music and Sound Art webcast project by KIASMA Museum of Contemporary Art, Helsinki 1998. [articles: I & Ib Helsingin Sanomat May 18th 1998, II & IIb MTV3, III Keskisuomalainen, IV Suomis-list, Apu 17/1998, HeSa April 8th and 17th 1998, Uutislehti 100 April 2nd 1998, Kuva magazine 3-1998.]

      • Lecturer: Soundscape Composition Workshop, in collaboration with University of Tampere and TTVO / School of Art and Communication, Tampere. Jan.-April 1998. [article: I essay by Korva group, Aamulehti April 2nd & 3rd 1998.]

      • Curator: annual Charm of Sound electronic music concert program [since 1997], Helsinki. [article: Ilta-Sanomat Dec. 9th 1997 [w/ image].]

      • Lecturer: Music History, International Study Programme of the University of Jyväskylä, Department of Musicology. 1996-1997.


        Adviser, Technical help, Assistance...  

        Educational guidance, MA thesis of Sami van Ingen: Fokus, 35mm film Dolby Stereo, KuvA 2003-2004.

        CD Masteration and Noise reduction of the soundscape CD Tsurraa by Timo Vartiainen, published by Kiasma 2004.

        Educational guidance, MA thesis of Marianne Decoster-Taivalkoski: Aquatic, an interactive media sound installation, Uiah/Mlab 2003.

        Technical help, soundtrack of Le lit des amants / The Lovers' Bed, a DVD-video work by Elina Saloranta, 2003. Video and DVD projection at Phill Niblock's live performance, Nifca [Nordic Institute for Contemporary Art], June 4th 2003 Helsinki Finland.

        Sounds and lights of cities: study travel to Stockholm and Helsinki [2002], Geographisch-Ethnologische Gesellschaft Basel. Project plan of Justin Winkler, University of Basel, Switzerland.

        Technical help and recording of the 13 hour long film event Bruce Baillie: The Holy Scrolls [1966-2000] produced by Sami van Ingen. Avanto Festival / Orion Theatre, November 24 2002. [Articles: HeSa November 21, 2002, Nyt 46/2002.]

        Information Explosion, Helsinki University electronic studio's 40-year anniversary concert. Avanto Festival, Kiasma Theatre, November 22 2002.

        Bruce Baillie - Works and Stories [2002, YLE/TV1], a film directed by Sami van Ingen. Broadcast: YLE/TV1 November 21, 2002. [Articles: HeSa November 21, 2002, Nyt 46/2002.]

        Background information for the articles on Erkki Kurenniemi by Harri Uusitorppa [The Wire magazine November 2002 and It's a machine! It's an instrument! Its DIMI-A! HeSa November 6, 2001].

        Background information for the Kurenniemi CD Recordings 1963-1973 [LXCD-637, 2002] compiled by Mika Taanila.

        Background information for the Kurenniemi documentary The Future Is Not What It Used To Be [2002], a film directed by Mika Taanila.

        Sound art and radio art: Experimental use of sound, working out the plan for the new program idea of Finnish Broadcasting Company YLE /
        Radio Theatre Department, summer 2001.

        Collection of Early Electronic Instruments, working out the plan for the instrument collection project by Sibelius Academy / Department of Music Technology, 2001.

        Transience sound installation project [I, II,] presented at KIASMA Museum of Contemporary Art, 2000.

        Technical help in various CD and exhibition sound projects:

        producer and editor of the work co-composed & released by Nemesis & Urban Shepherds, 1999;

        finishing of remix contributed by Paul D. Miller aka DJ Spooky for visual artist Teemu Mäki's exhibition, late-90's;

        sound work for visual artist Timo Vartiainen's exhibitions 2000, 2002 & 2004.

        Technical help at MuuMediaBase Sound Studio, hosted by media art association MUU, late-90's.


        Books and Selected Writings

        Äänen eXtreme ('eXtreme Sound'), a book on his own approach to music. Like Publishing, 2006. Format: 416pp, ISBN 952-471-713-1, plus audio-dvd including almost 9 hours of music by P.K.

        Dimensions of the Soundscape - from ear clearing to urban noise, Nuori Voima 1/2004.

        A Brave New Sound World (Uljas Uusi Äänimaailma), article at the soundscape history book Historia Mirabilis 3, Turun historiallinen yhdistys 2004.

        Dimensions of the Soundscape - from ear clearing to urban noise, Nuori Voima 1/2004.

        Extreme of Sound Art and Electronic Music, AVEK Magazine 2/2003.

        The Decade of The Beep, FrameNews 2/2002.

        On/Off - From Ether Sounds to Electronic Music, a book on The Early History of Finnish Electronic Music. Like Publishing and Kiasma Museum of Contemporary Art, 2002. Format: 800pp, ISBN 951-578-934-6.

        Sonic Boom - On the Traces of Sonic Art (Soivan taiteen jäljillä), KUVA Magazine 6/2000.

        Äänten taide ('Art of Sounds'), Lux-sonor exhibition cataloque, Kunsthalle Helsinki 1995.




        Petri Kuljuntausta

        c/o Charm of Sound

        P.O.Box 353

        Fin-00131 Helsinki Finland.

        GSM +358-(0)40-7206149