| 1. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Modes of sonic interaction in circus : Three proofs of concept
- 2014
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Ingår i: Proceedings of Sound and Music Computing Conference 2014. - Athens : The International Computer Music Association, The Sound and Music Computing Steering Committe, The Institute for Research on Music & Acoustics. ; , s. 1698-1706, s. 1698-1706-
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Konferensbidrag (refereegranskat)abstract
- The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus.The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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| 2. |
- Unander-Scharin, Carl, 1964-
(författare)
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Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics
- 2015
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- How can we re-empower opera singers, extending their control over accompaniment and vocal expressivity? To answer this question, I have opened a novel design space, Extending Opera, consisting of interactive artist–operated tools to be used on-stage. The research has its methodological groundings in Research through Design (RtD) and Research through the Arts (RttA). This particular method is coined "research-throughthe- art-form-opera" – as I have worked within the realms and traditions of opera, probing its boundaries by designing, researching and creating through its own artistic toolbox.Originally conceived for personal use, the artifacts were later used by other singers and incorporated in performances of opera in small and large scale. By composing and designing for the requirements in operatic productions, high demands on robustness were explored in and through custom-built interfaces.The work resulted in ten novel artifacts and performances exploring the expressivity of these tools. Extending Opera is guided by and probed through three questions:1. How can the design and creation of interactive, artist-operated instruments be informed by deep musical knowledge and be probed by the particular conditions surrounding an operatic production?2. What impact can interactive, artist-operated instruments have on the opera singers themselves and on their vocal technique?3. How can interactive, artist-operated instruments empower opera singers, thus challenging contemporary power hierarchies – thereby reconnecting to the explorative practice in opera's early days?My knowledge contribution has surfaced through artistic practice and consists of the exemplars and the artworks, as well as three abstractions – one procedure, one requirement and one experiential quality.Sensory Digital Intonation highlights how the fine-tuning of technologies and real-time interactivity is incorporated in a feed-back loop with artistic concerns and creativity.Performative Stamina ("The Premiere-Factor") highlights how the traditional procedures leading up to a premiere in opera influence the demands on robustness and reliability within the components and the overall design of the novel artifacts.Vocal Embodiment is an experiential quality that describes how the interactive artifacts change the singing itself.In the conclusion, Artistic Re–Empowerment is discussed, proposing that power structures in opera have been probed through the use of the novel artist-operated interactive instruments.
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| 3. |
- Unander-Scharin, Carl, 1964-, et al.
(författare)
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The Vocal Chorder : Empowering opera singers with a large interactive instrument
- 2014
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Ingår i: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450324731 ; , s. 1001-1010
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Konferensbidrag (refereegranskat)abstract
- With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodilyoriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.
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| 4. |
- Ölme, Rasmus, 1973-
(författare)
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From Model to Module: A move towards generative choreography
- 2014
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body.In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.
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