| 1. |
- Åshede, Linnea, 1987, et al.
(author)
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Cassandra's Plight: Gender, Genre, and Historical Concepts of Femininity in Goth and Power Metal
- 2019
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In: Classical Antiquity in Heavy Metal Music / edited by K. F. B. Fletcher and Osman Umurhan.. - London : Bloomsbury Academic. - 9781350075351 ; , s. 97-114
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Book chapter (peer-reviewed)abstract
- The authors focus on the trope of powerful historical feminities in two subgenres of heavy metal: goth and power metal. Through the case study of Cassandra - cursed by Apollo with perfect prophecies that nobody believes - the authors discuss how 20th century metal bands employ classical imagery to critique heterosexual power-relations, or look beyond gender to access the universal human conditions.
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| 2. |
- Olsson, Dan, 1963
(author)
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Jeanna Åkerman
- 2016
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In: Levande Musikarv.
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Book chapter (other academic/artistic)
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| 3. |
- Rosen, Astrid von, 1964, et al.
(author)
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Reimagining the research archive: a dialogue
- 2016
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In: Dream-playing across borders: accessing the non-texts of Strindberg’s A dream play in Düsseldorf 1915–18 and beyond / Astrid von Rosen (ed.). - Göteborg : Makadam. - 9789170612329 ; , s. 279-298
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Book chapter (peer-reviewed)abstract
- The book concludes with dialogue between the participants about the reimagined research archive that has grown out of the project.
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| 4. |
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| 5. |
- Hedling, Olof, et al.
(author)
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Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
- 2008
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In: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
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Book chapter (other academic/artistic)abstract
- Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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| 6. |
- Olsson, Dan, 1963
(author)
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Johanna (Jeanna) Elisabeth Åkerman
- 2020
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In: Svenskt kvinnobiografiskt lexikon. - Göteborgs : Göteborgs universitet. - 9789163975943
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Book chapter (other academic/artistic)
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| 7. |
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| 8. |
- Arvidson, Mats, et al.
(author)
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Intermedial combinations
- 2022
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In: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 106-137
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Book chapter (peer-reviewed)abstract
- Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.
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| 9. |
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| 10. |
- Dahlstedt, Palle, 1971
(author)
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Musicking with Algorithms: Thoughts on Artificial Intelligence, Creativity, and Agency
- 2021
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In: Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity. - Cham : Springer International Publishing. - 9783030721169 ; , s. 873-914
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Book chapter (other academic/artistic)abstract
- In this chapter, I present a pragmatic, critical, and sometimes speculative view of what Machine Learning (ML) and Artificial Intelligence (AI) bring to the table for art and music. It is pragmatic in the sense of analyzing what can actually be done today by musicians and composers working with AI, and what is missing in terms of creative agency. How does AI relate to other technologies in the context of art? Yet critical about the popular expectations of AI, its ascribed abilities and agency, and how AI is written and talked about today in terms of creativity. No, computers cannot paint like van Gogh or compose like Bach. What is really the role of humans, as designers, programmers, users, and tweakers, behind current AI applications? Still, I try to be visionary about the long-term future of AI in art and music. Will we ever see autonomous AI artists, composers, and musicians? If so, why would they even care to make art and music for humans?
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