| 1. |
- Dahlstedt, Palle, 1971, et al.
(författare)
-
Faller damm, faller regn
- 2012
-
Ingår i: Föreställningar, 3:e Våningen, Göteborg, 4 april – 11 maj 2012 Konsert, utdrag, Artisten, 13 april 2012 Konsertversion av föreställningen, Hagakyrkan, Göteborg, 5 maj 2012 Föreställning, Nya Paviljongen, Grankulla, Helsingfors, Finland, 16 maj 2012 Peer-reviewed presentation, Shifting Dialogues Symposium on Asian Performance, Theatre Academy, Helsingfors, 18-19 maj 2012.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Choreographer Ami Skånberg Dahlstedt has created a performance investigating class and gender of historic female street performers Shirabyoshi, who, trained in music, dance and poetry, performed dressed like male priests with sword, long hakama pants and a tall hat. How did they move? How did they manage their ambiguous position belonging both to the streets and the court? They could easily be replaced and thus lose social position, home and income. At the heart our performance are the Imayo (”modern”) songs of the Heian time. What was important in the arts of the Heian period and how can we relate to it? Ami is exploring the border between modern dance expression and the classical, ritual Japanese Buyo dance. Two musicians/composers contribute their perspectives to the performance: Kumiko Nonaka (Kyoto) constantly widens the range and outreach of the nohkan flute, bringing intimate knowledge of and new melodies for the Imayo Songs. Palle Dahlstedt (Gothenburg) combines studies in Noh music with advanced Western composition training and state-of-the art electronic music research. The objectives are to create an artistic synthesis, to bring it to a new audience and to show how these old artistic expressions can live – not only as a conserving museal craft, but as a powerful part of contemporary artistic expression.
|
|
| 2. |
- Dahlstedt, Palle, 1971, et al.
(författare)
-
Solens Dans
- 2013
-
Ingår i: Cinema premiere at Bio Capitol, Gothenburg, Sweden.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- A film by Ami Skånberg Dahlstedt and Folke Johansson, with music by Palle Dahlstedt, about the origins of dance and mythology in Japan connecting with contemporary dance today.
|
|
| 3. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
-
Deconstructing Shirabyoshi – Female dancers of the Heian period as a Mirror of Today
- 2012
-
Ingår i: Proceedings of Shifting Dialogues: The Politics of Site, Locality & Context in Asian Performance and Visual Arts, International Symposium, Academy of Fine Arts and Theatre Academy, Helsinki, May 18-19, 2012.
-
Konferensbidrag (refereegranskat)abstract
- Choreographer Ami Skånberg Dahlstedt creates a performance (premiere April 4th, Gothenburg) investigating class and gender of historic female street performers Shirabyoshi, who, trained in music, dance and poetry, performed dressed like male priests with sword, long hakama pants and a tall hat. How did they move? How did they manage their ambiguous position belonging both to the streets and the court? They could easily be replaced and thus lose social position, home and income. At the heart our performance are the Imayo (”modern”) songs of the Heian time. What was important in the arts of the Heian period and how can we relate to it? Ami is exploring the border between modern dance expression and the classical, ritual Japanese Buyo dance. Two musicians/composers contribute their perspectives to the performance: Kumiko Nonaka (Kyoto) constantly widens the range and outreach of the nohkan flute, bringing intimate knowledge of and new melodies for the Imayo Songs. Palle Dahlstedt (Gothenburg) combines studies in Noh music with advanced Western composition training and state-of-the art electronic music research. The objectives are to create an artistic synthesis, to bring it to a new audience and to show how these old artistic expressions can live – not only as a conserving museal craft, but as a powerful part of contemporary artistic expression.
|
|
| 4. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
-
OtoKin: Mapping for Sound Space Exploration through Dance Improvisation
- 2019
-
Ingår i: NIME Proceedings. - 2220-4806.
-
Konferensbidrag (refereegranskat)abstract
- ABSTRACT We present a work where a space of realtime synthesized sounds is explored through ear (Oto) and movement (Kinesis) by one or two dancers. Movement is tracked and mapped through extensive pre-processing to a high-dimensional acoustic space, using a many-to-many mapping, so that every small body movement matters. Designed for improvised exploration, it works as both performance and installation. Through this re-translation of bodily action, position, and posture into infinitedimensional sound texture and timbre, the performers are invited to re-think and re-learn position and posture as sound, effort as gesture, and timbre as a bodily construction. The sound space can be shared by two people, with added modes of presence, proximity and interaction. The aesthetic background and technical implementation of the system are described, and the system is evaluated based on a number of performances, workshops and installation exhibits. Finally, the aesthetic and choreographic motivations behind the performance narrative are explained, and discussed in the light of the design of the sonification.
|
|
| 5. |
|
|
| 6. |
- Ando, Daichi, et al.
(författare)
-
Computer Aided Composition for Contemporary Classical Music by means of Interactive GP
- 2005
-
Ingår i: The Journal of the Society for Art and Science. ; 4:2, s. 77-87
-
Tidskriftsartikel (refereegranskat)abstract
- Research on the application of Interactive Evolutionary Computation (IEC) to the field of musical composition has been improved in recent years, marking an interesting parallel to the current trend of applying human characteristics or sensitivities to computers systems. However, past techniques developed for the IEC-based composition have not necessarily proven very effective for the sake of professional use. This is due to the large difference between data representation used by IEC and authorized classic music composition. To solve these difficulties, we purpose a new IEC approach to music composition based on the classical music theory. In this paper, we describe an established system according to the above idea, and how successfully we can compose a piece using the system.
|
|
| 7. |
- Ando, Daichi, et al.
(författare)
-
Interactive GP with Tree Representation of Classical Music Pieces
- 2007
-
Ingår i: M. Giacobini et al. (Eds.): Applications of Evolutinary Computing, EvoWorkshops 2007 proceedings, Lecture Notes in Computer Science. - Berlin, Heidelberg : Springer Berlin Heidelberg. - 0302-9743. - 9783540718048 ; 4448, s. 577-584
-
Konferensbidrag (refereegranskat)abstract
- Research on the application of Interactive Evolutionary Computation( IEC) to the field of musical computation has been improved in recent years, marking an interesting parallel to the current trend of applying human characteristics or sensitivities to computer systems. However, past techniques developed for IEC-based composition have not necessarily proven very effective for professional use. This is due to the large difference between data representation used by IEC and authored classical music composition. To solve this difficulties, we purpose a new IEC approach to music composition based on classical music theory. In this paper, we describe an established system according to the above idea, and detail of making success of composition a piece.
|
|
| 8. |
- Berry, Rodney, et al.
(författare)
-
Artificial Life: Why Should Musicians Bother?
- 2003
-
Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 22:3, s. 57-67
-
Tidskriftsartikel (refereegranskat)abstract
- No new technology appears in a society without causing changes to that society. Artists instinctively respond to these changes and the potential meanings of the technologies that bring them about. In this way, artists’ interest in technology goes beyond the simple desire to possess new tools for artistic expression. Artists serve to prepare society for the invisible changes going on within it by producing artworks in response to the mechanisms of change. This paper discusses the authors’ approaches to using concepts from artificial life in their musical works, which are basically of two kinds – artificial worlds producing music as an output, and interactive compositional tools using evolutionary algorithms to generate music and sound. It also provides a brief cultural context for these works.
|
|
| 9. |
- Berry, Rodney, et al.
(författare)
-
Unfinished Symphonies - songs of 31/2 worlds
- 2001
-
Ingår i: Artificial Life Models for Musical Applications, Bilotta et al (eds), ECAL 2001 Prague, September 9, Editoriale Bios.
-
Konferensbidrag (refereegranskat)abstract
- In this workshop, I introduce some of the reasons for my fascination with alife and my desire to use it for music making. I also talk about some of the joys and sorrows of the collaboration process. Four alife worlds, Feeping Creatures, Spinners, Gakkimon Planet and Listening Sky are described in the order they were made. I talk about what I like and dislike about each one and how I would like to extend them.
|
|
| 10. |
- Bomba, Maros Suran, et al.
(författare)
-
Somacoustics: Interactive body-as-instrument
- 2019
-
Ingår i: Proceedings of the International Conference on New Interfaces for Musical Expression. - 2220-4792 .- 2220-4806. ; , s. 95-100
-
Konferensbidrag (refereegranskat)abstract
- Visitors interact with a blindfolded artist’s body, the motions of which are tracked and translated into synthesized four-channel sound, surrounding the participants. Through social-physical and aural interactions, they play his instrument-body, in a mutual dance. Crucial for this work has been the motion-to-sound mapping design, and the investigations of bodily interaction with normal lay-people and with professional contact-improvisation dancers. The extra layer of social-physical interaction both constrains and inspires the participant-artist relation and the sonic exploration, and through this, his body is transformed into an instrument, and physical space is transformed into a sound-space. The project aims to explore the experience of interaction between human and technology and its impact on one’s bodily perception and embodiment, as well as the relation between body and space, departing from a set of existing theories on embodiment. In the paper, its underlying aesthetics are described and discussed, as well as the sensitive motion research process behind it, and the technical implementation of the work. It is evaluated based on participant behavior and experiences and analysis of its premiere exhibition in 2018.
|
|
