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Träfflista för sökning "AMNE:(HUMANITIES Arts) ;lar1:(hkr)"

Sökning: AMNE:(HUMANITIES Arts) > Högskolan Kristianstad

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1.
  • Cappelen, Birgitta, 1962-, et al. (författare)
  • Co-created staging : situating installations
  • 2011
  • Ingår i: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival. - Copenhagen.
  • Konferensbidrag (refereegranskat)abstract
    • Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.
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2.
  • Johansson, Michael, et al. (författare)
  • Abstraction and resilience: symbolics and space
  • 2021
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • In our recent work on the topic ‘resilient communities’ for a workshop at the Venice Biennale 2021, Ideal Spaces Working Group investigates different aspects of spatial creation: the history of ideas, formats of representing space and tools of construction in historical, contemporary and built environments of the future. We address how abstract conceptions underlying assumptions, imagination and concrete views shape spatial construction and its representations, and how spatial creation tries to organize meaning and influence perception and understanding, shaping both the city and its inhabitants. With regard to the built environment, resilience depends on how a space is perceived by its inhabitants and how spaces designed for communities reflect this, especially their symbolic properties as ideal spaces for communal living. These properties are connected to the ways in which space is expressed via its overall shape as gestalt. In this respect, it is about how imagination operates via abstracting and symbolizing perception. In our work, we address why it is reasonable to depict representations of ideal places as symbolic spaces in a degree of abstraction that is far from photorealism, and to instead find other forms of representation. Furthermore, we explore how to avoid the uncanny valley that inevitably arises in virtual aesthetics when something is not quite right, and finally, how a readable yet intuitive formal language can be implemented. 
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3.
  • johansson, michael, 1962-, et al. (författare)
  • Fieldasy
  • 2004
  • Ingår i: Fieldasy. - Sheffield, UK.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • Fieldasy is a process for engaging multiple perspectives in the creation of a world, and the mapping of its virtual space. While the final outcome lies ahead, the process has already produced a series of artistic expressions that drives the overall project forward. Fieldasy refers to the methods of field working and invoking imagination by using physical objects. The objects constitute a shared ground for collaborative creativity, serves as nodes in a complex narrative and as a basis for the creation of the world. In the paper, we describe the process, methods and the artifacts developed in this project. We also show how this approach can host and facilitate artistic development in a complex production environment such as the one of digital media, supported by invited artists, researchers (computer science) and students (interaction design), enabling diverse parties to transfer their knowledge into the project in an ongoing manner. Three aspects of the project are discussed: The Framework; the city of Abadyl, The Method; fieldasy and The Output; a series of artifacts eventually displayed in a series of exhibitions.
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4.
  • Andersson, Anders-Petter, 1969-, et al. (författare)
  • Musical interaction for health improvement
  • 2014
  • Ingår i: Oxford handbook of interactive audio. - Oxford : Oxford University Press. - 9780199797226 ; , s. 247-262
  • Bokkapitel (refereegranskat)abstract
    • During the past decade, tangible sensor technologies have matured and become less expensive and easier to use, leading to an explosion of innovative musical designs within video games, smartphone applications, and interactive art installations. Interactive audio has become an important design quality in commercially successful games like Guitar Hero , and a range of mobile phone applications motivating people to interact, play, dance, and collaborate with music. Parallel to the game, phone, and art scenes, an area of music and health research has grown, showing the positive results of using music to promote health and wellbeing in everyday situations and for a broad range of people, from children and elderly to people with psychological and physiological disabilities. Both quantitative medical and ecological humanistic research show that interaction with music can improve health, through music’s ability to evoke feelings, motivate people to interact, master, and cope with difficult situations, create social relations and experience shared meaning. Only recently, however, the music and health field has started to take interest in interactive audio, based on computer-mediated technologies’ potential for health improvement. Here, we show the potential of using interactive audio in what we call interactive musicking in the computer-based interactive environment Wave. Interactive musicking is based on musicologist Christopher Small’s concept “musicking”, meaning any form of relation-building that occurs between people, and people and things, related to activities that include music. For instance, musicking includes dancing, listening, and playing with music (in professional contexts and in amateur, everyday contexts). We have adapted the concept of "musicking" on the design of computer-based musical devices. The context for this chapter is the research project RHYME. RHYME is a multidisciplinary collaboration between the Centre for Music and Health at the Norwegian Academy of Music, the Oslo School of Architecture and Design (AHO), and Informatics at the University of Oslo. Our target group is families with children with severe disabilities. Our goal is to improve health and wellbeing in the families through everyday musicking activities in interactive environments. Our research approach is to use knowledge from music and health research, musical composition and improvisation, musical action research, musicology, music sociology, and soundscape studies, when designing the tangible interactive environments. Our focus here is interaction design and composition strategies, following research-by-design methodology, creating interactive musicking environments. We describe the research and design of the interactive musicking environment Wave, based on video documentation, during a sequence of actions. Our findings suggest some interactive audio design strategies to improve health. We base the design strategies on musical actions performed while playing an instrument, such as impulsive or iterative hitting, or sustainable stroking of an instrument. Musical actions like these can also be used for musicking in everyday contexts, creating direct sound responses to evoke feelings that create expectations and confirm interactions. In opposition to a more control-oriented, instrument and interface perspective, we argue that musical variation and narrative models can be used to design interactive audio, where the audio is seen as an actor taking many different roles, as instrument, co-musician, toy, etc. In this way, the audio and the interactive musicking environments will change over time, answering with direct response, as well as nose-thumbing and changing response, motivating creation, play, and social interaction. Musical variation can also be used to design musical backgrounds and soundscapes that can be used for creating layers of ambience. These models create a safe environment and contribute to shared meaning.
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5.
  • Andersson, Anders-Petter, 1969- (författare)
  • "Shoot ’em up -musik" : om musikaliska strukturer för interaktivt berättande i tevespelet Rez
  • 2003
  • Ingår i: NM/T Nutida Musik/Tritonus. - 0029-6597. ; :2, s. 26-30
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.
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6.
  • Cappelen, Birgitta, 1962-, et al. (författare)
  • From designing objects to designing fields : from control to freedom
  • 2003
  • Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
  • Tidskriftsartikel (refereegranskat)abstract
    • In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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7.
  • Jalhed, Hedvig, 1982- (creator_code:cre_t, creator_code:pdr_t)
  • The Prophecies
  • 2023
  • Ingår i: The Propechies, public performances of the AI-based micro opera with the opera company Operation Opera.
  • Konstnärligt arbeteabstract
    • The Prophecies is an AI-based chamber opera with interactive features in which the visitors are immersed in a ritualistic and temple-like setting where they can meet a singing oracle who instead of appearing to be connected to ancient divinities receives messages from the digital realm. The underlying theme of the opera is the eternal human search for guidance and our hope for help from external and mythological forces. Through the work, a playful approach to the subject is suggested while the concept also makes room for critical reflection on the topic and the exposed mechanisms of human nature. Developed from the creators' earlier work with the prototypical opera The Oracle, the concept design encompasses elaborated verbal, audial, and visual material, including an AI-agent trained to respond in the style of the Delphic oracle while still being compatible with the contemporary music composition at hand. By offering personalized prophecies to each individual visitor facing the oracle alone through the dynamics achieved by human-machine interaction, articulate subjective experiences are made possible through the opera.
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8.
  • Johansson, Michael, et al. (författare)
  • Abstraction and resilience: symbolics and space
  • 2021
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • In our recent work on the topic ‘resilient communities’ for a workshop at the Venice Biennale 2021, Ideal Spaces Working Group investigates different aspects of spatial creation: the history of ideas, formats of representing space and tools of construction in historical, contemporary and built environments of the future. We address how abstract conceptions underlying assumptions, imagination and concrete views shape spatial construction and its representations, and how spatial creation tries to organize meaning and influence perception and understanding, shaping both the city and its inhabitants. With regard to the built environment, resilience depends on how a space is perceived by its inhabitants and how spaces designed for communities reflect this, especially their symbolic properties as ideal spaces for communal living. These properties are connected to the ways in which space is expressed via its overall shape as gestalt. In this respect, it is about how imagination operates via abstracting and symbolizing perception. In our work, we address why it is reasonable to depict representations of ideal places as symbolic spaces in a degree of abstraction that is far from photorealism, and to instead find other forms of representation. Furthermore, we explore how to avoid the uncanny valley that inevitably arises in virtual aesthetics when something is not quite right, and finally, how a readable yet intuitive formal language can be implemented.
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9.
  • Johansson, Michael (författare)
  • The City of Abadyl
  • 2011
  • Ingår i: Metaplasticity in Virtual Worlds. - : IGI Global. - 9781609600778 ; , s. 251-265
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • In the City of Abadyl we try to explore a complex digital space in a setting that invites to participation. We provide a detailed and complex, yet open world that can be utilized in order to generate scenarios for the temporary co-creators of Abadyl, who would then interact in an optional environment and in the end producing new artefacts. Abadyl is a database that contains all the gathered information in different file formats, it is a storage facility for all of the physical artefacts, it is a website used for communication and documentation, it is a map for navigating the City. This combination of interactive situations and artefactual production we called “fieldasy”. We are concentrated on developing collaboration in the production of new media and it´s artefacts. We try to produce artwork that actually incorporates surprising visual and technical proposals that are unusual, enriching and engaging. By building prototypes and iterate it over time and amongst the co-creators, it let us explore this area in a fruitful way, moving between artistic intentions/screen writing, artefacts and digital generated expressions and script/code writing. Here the virtual object can challenge the physical with qualities that is very hard to achieve in the physical world, and in that conflict, new expressions can be developed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well. In our prototype work we focus especially on interactive installations and stage design; we realize that the digital design process both demand new forms of conceptualization and prototyping activities to support the design of the expression of the final artwork itself – and maybe in the long run propose a updated and appropriate design theory in this field.
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10.
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