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Konstens kunskap : Knowledge of art
- 2021
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Editorial collection (other academic/artistic)abstract
- Boken är en studie I den konstnärliga forskningens metoder, teorier och resultat betraktat genom tolv avhandlingar framlagda vid Konstnärliga fakulteten vid Göteborgs universitet. The book is a study in the methods, theories and results of Artistic Research viewed through twelve PhD-Theses defended at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg.
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Chinese whispers
- 2011
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Editorial collection (pop. science, debate, etc.)abstract
- Chinese Whispers is an edition based on the children’s game with which it shares its name. A voice recording of a whispered word chosen by the editors of the volume was passed on to an initial contributor who was asked to work with the recording, the sound itself as well as its transcription, and produce a sound- and text-based contribution to the volume. Additionally, our initial contributor was asked to pick a subsequent contributor to the series and make another sound recording of the whispered word for this person to work with. We set out to allow this process to continue until we reached a point where we had six confirmed contributors to the volume, each of which had agreed to produce an individual edition containing a CD and various forms of printed matter.The resulting volume is a box-set containing six separate contributions that share the same format and are interlinked by the gradual mutation and disintegration of the original word recorded which remains the undisclosed basis of volume in its entirety.Contributors: Neil Chapman, Jill Magi, Sissu Tarka, Uriel Orlow, Brendan Fernandes and Jaanika Peerna.
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Counting Each Step of the Sun
- 2010
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Editorial collection (pop. science, debate, etc.)abstract
- Counting Each Step of the Sun explores the diverse set of intersections between the voice of or in a text, the voice during actual reading, vocalization and subvocalization processes, and the recorded voice. It features contributions that in some way problematize, displace and deconstruct any easy set of identifications and distinctions between these different vocal realms as well as those which seek to render possible mutations, hybridizations, points of indiscernability and crossovers between them.The title of the proposed volume derives from an autobiographical story recounted by Allen Ginsberg in a BBC interview with Jeremy Andrews. Spending time in a friend’s New York apartment, Ginsberg tells Andrews how he experienced an aural hallucination in which William Blake recited his poem ‘Ah! Sunflower’ to him in a voice much like Ginsberg’s own yet distinctly different, emanating from his sternum. Ginsberg proceeds to recite the poem himself – ‘Ah! Sunflower, weary of time, who countest the steps of the sun, seeking after that sweet golden clime, where the travelers journey is done, where the youth pined away with desire, and the pale virgin shrouded in snow, arise from their graves and aspire, where my sunflower wishes to go.’ – bringing to mind his 1969 recording of the poem, performed accompanied by a small harmonium on top of the sound of which Ginsberg and others half recites, half sings Blake’s poem.Although this present volume does not engage specifically with the work of Allen Ginsberg, nor that of William Blake, it does draw upon the interplay between voices in this story – that is, the interplay between the voice of or in Blake’s text, the peculiar voices in Ginsberg’s subvocalization-cum-aural hallucination, the voice of Ginsberg reading, the voice we find on the recording of Ginsberg singing, and the voice of Ginsberg recounting his story. On the basis of such interplay, we have been gathering contributions from poets, sound poets, musicians and artists whose current and/or past work we feel have in some way engaged with or intervened in this general field. Contributors have been encouraged to think and work with similar intersections and interstitial spaces in their own poetics, and/or in the work of others, producing text and sound pieces/collages using editing and remixing processes that in some way destabilize, displace and render uncertain any easy and comfortable distinction between these different vocal realms.This volume collects the contributions we received and includes the work of Charles Bernstein, Caroline Bergvall, Christian Bök, Johannes Heldén, Kenneth Goldsmith, Lars-Gunnar Bodin and Danny Snelson.
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Local Colour : Ghosts, variations
- 2012
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Editorial collection (pop. science, debate, etc.)abstract
- LOCAL COLOUR : Ghosts, variations is a collaboration between In Edit Mode Press and Canadian poet Derek Beaulieu. The publication takes as its point of departure, Paul Auster’s novella Ghosts, and, in particular, Derek Beaulieu’s reworking of Auster’s text, Local Colour. Focusing on the tension created in Beaulieu’s manuscript between the textual narrative and the graphical mark, and the opening it seems to provide toward a realm of intermediality and experimentation, we have solicited a series of textual, aural, oral, musical, and other interpretations, as well as more machinic ‘utilisations,’ of Beaulieu’s manuscript. What interests us, in particular, is the way in which Local Colour seems to split Auster’s narrative text open, deterritorialising it by rendering it graphical and freeing it up, by the same gesture, to a potential excess of meaning. Seeking to extend and amplify this ambitious project, what we attempt with this volume, is to open Beaulieu’s project up for others to split open. We seek to deterritorialise the coloured rectangles of his manuscript – in every sense a violent yet affirmative gesture – and explore the horizons toward which such violence might take us. In doing so, Local Colour: Ghosts, variations collects and counterposes a wide array of strategies and approaches. It is an ambitious, vigorous collection that oscillates and moves between textual narrative, graphical mark, and aural impression, exploring these different realms while rendering uncertain any easy distinction between them.
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Innovation in Music : Technology and Creativity
- 2024
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Editorial collection (peer-reviewed)abstract
- Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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Innovation in Music : Cultures and Contexts.
- 2024. - 1
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Editorial collection (peer-reviewed)abstract
- Innovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
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Artistic research within creative studies
- 2023
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Editorial collection (other academic/artistic)abstract
- This Tilde publication is the first from the Department of Creative Studies to focus on artistic research by gathering together our past, ongoing as well as future artistic research processes. The intention is to showcase the position we are currently in as a department navigating the field of artistic research. The theme of the publication is processes. The starting point is that we must be patient. We cannot rush such a process. Still, challenges need to be met with actions. In so doing, questions arise. We stumble, we fall, we rise, analyse, and move forward. We believe that we learn through experience, which is not linear. Sometimes, we learn from actions in the past. Other times, we learn in the moment of creating. An artistic action will trigger a reflective reaction. An artistic failure may be a research breakthrough. We believe that the artistic actions, the doing, the process of practising our art is the key parameter for feeding an artistic research process. Namely, the artistic activity must be embraced and the skills and knowledge embodied by the artist seen as a tool in the research activity. There is a long tradition at the Department of Creative Studies of conducting research within educational science in visual art, crafts/sloyd and music. Accordingly, our previous educational research has often included interdisciplinary approaches to our art subjects. In recent years, artistic research has grown in importance at the department. Besides the aim of artistic research to generate new knowledge to an artistic practice, it holds the potential to add new insights to the educational scientific field regarding practical, embodied and tacit knowledge, and new understandings of aesthetic activities and experiences.
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Innovation in Music 2022 : Book of Abstracts: CONFERENCE PROGRAMME 17-19 June 2022
- 2022. - 01
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Editorial collection (peer-reviewed)abstract
- Innovation in Music 2022FRIDAY 2022-06-17 Welcome to Innovation in music 2022! - 15:30 1C103 - Lilla salen 1Keynote 1: Armen Shaomian - 15:45 - 1C103 - Lilla salen 1Panel 1: Entrepreneurship, Copyright, & Innovation in Music: Linda Portnoff, Christian Råsmark, Thomas Arctaedius & Örjan Strandberg 15:30 - 1C103 - Lilla salen 1Seminar with online presenters 17:30 - Lilla salen Paul Novotny: How to Put Together a Premium DIY Dolby Atmos 'Tiny Studio' on a Budget Anders Lind: Music for the mobile phone orchestra, string orchestra and analog synthesizers: An evaluation of a concert hall performance including 15-year-old non musicians as performers 2Pedro Miguel Ferreira: Road(ies) To Nowhere? A Portuguese live music perspective, Eirik Askerøi: Sonic Markers in Popular Music: Innovation - Trend - Tradition, Ola Buan Øien: The Dialogue of Mr. Question Mark and Sylvia Massy: Challenging norms at the intersection of crafts and creativity in music recording contexts 3SATURDAY 2022-06-18 Welcome with music: Henry Mikkonen & Martin Åberg 08:45 - Lilla salen 4Seminar with online presenters 09:00 - Lilla salen 4Yuxiang Cai, Rui Liu and Xuefeng Zhou: An investigation of piano timbre preference based on employing equalizer to adjust the harmonic loudness, Martin Koszolko: Connecting across borders: communication tools, group structures and practices of remote music collaborators, Hussein Boon: Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship 5Yngvar Kjus, Ragnhild Brøvig-Hanssen & Solveig Wang: Encountering new technology: A study of how female creators explore DAWs, Scott Stickland, Nathan Scott & Rukshan Athauda: The DAW Collaboration Framework: Improving Creative Opportunities and Authenticity in Collaborative Online Audio Mixing 6Samuel Lynch & Helen English, Jon Drummond, Nathan Scott: Exploring Dynamic Music Methods to Extend Compositional Outcomes 7Session 1 A 10:20-12.00 - 1C103 (Lilla salen) Ingvild Koksvik: Staging Notions of Space: Developing a Practice-Based Model for Realizing Compositional Intention in 3D and Stereo Record Production 8Grzegorz Trela: The sound from behind the Iron Curtain: Record production in the Polish People's Republic 8Marc Estibeiro: An interactive chamber work for two classical guitars and electronics which uses the natural sound of the acoustic instruments as both source material for electronic processing and as a means of controlling the electronic part 9Stephen Bruel: Remastering Elton John's Goodbye Yellow Brick Road 9Session 1 B 10:20-12.00 (1D221) 9Claus Sohn Andersen: The space is the place - Interplay and interaction in an extreme location 9Matthew Lovett: Artificial creativity and tools for understanding: music, creative labour and AI 10Tony Dupé: Self Production as a Creative Practice 10Leigh Shields: Exploring the history of distortion in Drum and Bass 11Session 1 C 10:20-12.00 (1E207) 11Matthias Jung & Vegard Kummen: Hacking the concert experience - exploring co-creative audience interaction at a chiptune live performance 11Haoran Jiang: A History of Taiwan's Recording Industry: Production and Promotion Strategies of Campus Song Records by Synco Corporation 12Mat Dalgleish: Unconventional Inputs: The Modular Synthesizer as One-Handed Instrument 12Shib Shankar Chowdhury: Autoethnography and composition for Innovative music creation about Pandemic with reference to "I Am Virus" 13Keynote 2: Susanne Rosenberg 13:00-13:50 - 1C103 (Lilla salen) 13Session 2 A 14:00-15:40 - 1C103 (Lilla salen) 14Håkan Lindberg: Innovation solving problems with vocal recordings 14Emil Kraugerud: Closeness beyond closeness: The technological facilitation of acousmatic hyperintimacy 14Bjørnar Sandvik: Sample, Slice, and Stretch! Four Innovative Moments in the History of Waveform Representation 14Antti Sakari Saario: “Yesterday’s Charm, Today’s Precision”: Martin B. Kantola and the design of a new ‘classic’ microphone (Nordic Audio Labs NU-100K) 15Session 2 B 14:00-15:40 (1D221) 16Florian Hollerweger: Audio beyond Demand: Creative Reinventions of the Broadcast Listening Experience 16Sven Ubik, Jakub Halak, Martin Kolbe & Jiri Melnikov: Comfortable playing together over distance 16Mattias Petersson: A new morphology – Strategies for innovation in live electronics performance 16Zachary Diaz: Signifyin(g) Producers: The Roland SP-404 and The Evolution of Live Instrumental Hip-Hop Performance 17Session 2 C 14:00-15:40 (1E207) 17Kirsten Hermes: Levelling up chiptune: nostalgic retro games console sounds for the ROLI Seaboard 17Ambrose Field & Ling Ding: Innovation and music business: a new approach for international partnership in music 18Egor Poliakov & Martin Pfleiderer and Christon-Ragavan Nadar: Analyze! Development and integration of software-based tools for musicological and music theoretical needs 18Christos Moralis: The ‘Performable Recordings’ model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance 19Session 3 A 16:00-17:15 (1C103 Lilla salen) 19Scott L. Miller & Carla Rees: Telematic Performance and Recording of Interactive Electroacoustic Chamber Music 19Henrik Langemyr: Music(al) Production: To Compose and Produce Musical for Recorded Medium: Based on the Perspective of Music, and Media Production 20Session 3 B 16:00-17:15 (1D221) 20Phil Harding: Transforming A Pop Song: The Journey of the Extended Club Remix 20M. Nyssim Lefford & Gary Bromham and David Moffat: From Intelligent Digital Assistant to Intelligent Digital Collaborator 21Brendan Williams: Creative Potentials for Dolby Atmos: Presenting the self-balancing acoustic ensemble 21Session 3 C 16:00-17:15 (1E207) 22Henrique Portovedo & Ângelo Martingo: Transforming Performance with HASGS: research-led artistic practice in augmented instruments 22Ambrose Field: Rethinking the relationships between space, performance and composition in notated acoustic composition: Quantaform Series 22Hans Lindetorp: Gesture-controlled synths with WebAudioXML 22Panel 2: How to get published? And Book releases Chair: Rob Toulson 23Keynote 3: Sven Ahlbäck, Christian Råsmark & Rob Toulson 23SUNDAY 2022-06-19 Welcome with music: Henry Mikkonen & Martin Åberg - 08:45 Lilla salen 23Panel 3: Exploring Dolby Atmos: Past Present and Future Chair: Daniel Pratt 23Session 4 A 10:20-12:00 - 1C103 (Lilla salen) 23Enric Guaus & Alex Barrachina, Gabriel Saber, Víctor Sanahuja, Josep Comajuncosas: Exploring a network setup for music experimentation 23Paul Thompson, Mcnally Kirk & Toby Seay: Multiple Takes: Multitrack Audio as a Musical, Cultural, and Historical Resource 24Jo Lord & Michail Exarchos: Dynamic meta-spatialisation: Narrative and recontextualisation implications of spatial stage stacking 24Stefan Östersjö, Thanh Thuy Nguyen & Matthew Wright: Yellow music in diaspora: Re-inventing the sound of pre-1975 record production in Sài Gòn 25Session 4 B 10:20-12:00 (1D221) 25Hans Lindetorp: Towards a standard for interactive music 25Jessica Edlom, Jenny Karlsson & Linda Ryan Bengtsson: Innovating music experiences – Creativity in pandemic times 25Alicja Sulkowska: Before Our Spring – towards the concept of intermedial authenticity in a curated K-pop industry. On the example of Kim Jonghyun’s “Blue Night Radio” 26Dave Fortune: Composing Without Keys: The LFO as a Composition Tool 27Session 4 C 10:20-12:00 (1E207) 27Mads Walther-Hansen & Anders Eskildsen: Forceful Action and Interaction in Non-Haptic User Interfaces for Music Production 27Charles Norton, Justin Paterson & Daniel Pratt: Musical connections and enhanced performance control, a strategy to reduce complexity 28Kjell Andreas Oddekalv: Rap as composite auditory streams: Techniques and approaches for layered vocal production in hip-hop and their aesthetic and philosophical implications 28Liucija Fosseli: Music Business Present and Future Innovations. Perspectives of international songwriters and producers working towards Chinas´market 29Keynote 4: Håkan Lidbo 13:00-13:50 - 1C103 (Lilla salen) 29Session 5 A 14:00-15:40 - 1C103 (Lilla salen) 29Stefan Östersjö & Jan Berg, Anders Hultqvist: A Deepened ‘Sense of Place’: ecologies of sound and vibration in urban settings and domesticated landscapes 29Andy Visser & Justin Paterson: HAPPIE: The Haptic Audio-Production Pipeline – A novel method for accomplishing audio-production tasks using haptic feedback within a Mixed Reality [MR] environment 30Jon Marius Aareskjold-Drecker & Ragnhild Brøvig-Hanssen: Vocal Chops: Balancing the Uncanny Valley 30Jacob Westberg: Ludonarrative Harmony: Music production through the lens of game design 31Session 5 B 14:00-15:40 (1D221)Thomas Bårdsen: Improving the republishing process of legacy music productions through documented source selection and reformatting 31Toivo Burlin: Mobile Classical Music – Recording, Innovation and Mediatization. Three Swedish case studies from the 1940’s to 2021 31David Thyrén, Jan-Olof Gullö, Per-Henrik Holgersson & Thomas Florén: Icebreakers and clusters within the Swedish music wonder 32Russ Hepworth-Sawyer, Rob Toulson & John-Paul Braddock: UDPi Mastering Protocol 32Session 5 C 14:00-15:40 (1E207) 33Mads Walther-Hansen: Music Production Entrepreneurship – Between Art and Business 33Thomas Arctaedius, Martin Q Larsson, Emilie Lidgard & Madeleine Jonsson Gill: Experiences from a Learning Lab – Cross Innovation in Music/Arts 33Daniel Pratt & Toby Seay: Time, place, and reflexivity: the recording space as an instrument 34Samantha Talbot: Song Worlds: Spontaneity, Intimacy, and Immersion. Music Video from Glencoe 34Concert & Paper presentation Henrik Frisk: Literate programming and documentation of artistic processes . Lilla salen 16:00 34Panel 4: Final reflections & Future perspectives 16:40 35
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