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2.
  • Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
  • 2008
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt)abstract
    • When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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3.
  • Cappelen, Birgitta, 1962-, et al. (författare)
  • Co-created staging : situating installations
  • 2011
  • Ingår i: Interactive music composition. - 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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6.
  • Arvidson, Mats (författare)
  • An Imaginary Musical Road Movie : Transmedial Semiotic Structures in Brad Mehldau's Concept Album "Highway Rider"
  • 2016
  • Bok (refereegranskat)abstract
    • An Imaginary Musical Road Movie revolves around two integrated objects: on the one hand, the programmatic and cyclic concept album Highway Rider (2010), which is jazz pianist and composer Brad Mehldau’s most complex instrumental work, and on the other hand transmediality, both as a concept and phenomenon. Musicologist Mats Arvidson claims that a deep understanding of an intermedial music culture is a prerequisite for knowing how to interpret a work like Highway Rider. Having such an intermedial framework at hand further enables the integration of formal and structural analysis with cultural, historical and technological aspects of music. In a captivating manner, Arvidson shows how Highway Rider circulates in and through different cultural systems, and in doing so, explains how, where and when musical meaning is produced. Highway Rider is understood as a transmedial phenomenon both through its genre-specificity and its narrative structure, that is, as an imaginary musical road movie whose story raises questions about the meaning of life. The study is addressed to musicologists interested in issues related to intermediality, as well as to researchers within the field of cultural studies, film studies, media studies, visual studies and comparative literature. The idea of ‘music alone’ as an independent auditory medium expressed in the institutions of today’s academia does not resonate with how we listen to and perceive music in everyday life; music is always accompanied with paratexts such as programme notes, LP sleeve images or other types of media. This idea forms the basis for this essay and is used to present a number of issues concerning meaning production: How, where and when is musical meaning produced? To be more specific, this essay deals with how an intermedial music culture can be described and analysed through one specific case study. Intermediality arises in the crossings between constructed media borders, which means that different aspects of a specific medium can be transgressed in various ways. Based on the American composer and jazz musician Brad Mehldau’s (1970–) most complex instrumental works, the concept album Highway Rider (2010), this essay explores how such an album can be understood within an intermedial music culture. It merges formal and structural analysis with cultural, historical, technological and psychoanalytic aspects of music emphasising the role of subjectivity in the production of meaning. By offering a varied and broad theoretical and methodological framework, the author demonstrates ways to approach the work using concepts like transmediality, intermedial reference, meta-reference, iconicity, semiotics, paratext, psychoanalysis and ecological psychology.
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8.
  • Cronqvist, Marie, et al. (författare)
  • Virtualiteter : sex essäer
  • 2006
  • Bok (övrigt vetenskapligt)abstract
    • Sex forskare från olika humanistiska discipliner skriver varsin essä kring temat virtualitet.
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9.
  • Groth, Sanne Krogh, et al. (författare)
  • Sound Art : The First 100 Years of an Aggressively Expanding Artform
  • Ingår i: The Bloomsbury Handbook of Sound Art. - : Bloomsbury Academic. - 9781501338816 - 9781501338793 ; , s. 1-20
  • Bokkapitel (refereegranskat)abstract
    • "A brief history of sound art is, in a nutshell, a history of sonic forms of expression that throughout the twentieth century can be traced within music, the visual arts, and contemporary dance, as well as in performance art, conceptual art, and media art. Attempts to capture sound art as a detached and isolated art form or artistic phenomenon have been made, but this is definitely not the approach of this handbook. On the contrary, we conceptualize sound art as a persistent and expanding art form, that is entangled with a broad diversity of genres and cultural phenomena—through its sound practices. Sound art today both stimulates and builds, challenges and destructs, reinvents and subverts institutions. It is concrete and physical, material and corporeal—calling for reflection, speculation, and abstraction to surprisingly excessive degrees. Sound art is rooted in a longer history and culture, but incessantly seeks a critical politicizing, decolonializing, and rethinking of the same. A history of sound art can, of course, be shaped in various ways depending on the argument or approach one wishes to frame. In order to support our argument we stress a canon of works and approaches that consider technology, performativity, social and political awareness, and utopia and dystopia. These are, in our understanding the main reasons why today it still holds true to claim: Sound art is generative....With this handbook we hope ... to provide a contemporary journey in postapocalyptic times across the grid of sensibilities, thinking, making, and institutionalizing that can serve artists, curators, activists, developers, inventors, listeners, researchers, and aficionados as well. May sound art further expand!"
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10.
  • Arvidson, Mats, et al. (författare)
  • Introduktion : kulturvetenskapliga perspektiv på kris
  • 2013
  • Ingår i: Kris och kultur : kulturvetenskapliga perspektiv på kunskap, estetik och historia - kulturvetenskapliga perspektiv på kunskap, estetik och historia. - : Sekel Bokförlag. - 9789187199097 ; , s. 9-27
  • Bokkapitel (refereegranskat)
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