| 1. |
- Frisk, Henrik, et al.
(författare)
-
Acts of Creation : Introduction
- 2015
-
Ingår i: Acts of Creation : Thoughts on artistic research supervision - Thoughts on artistic research supervision. - 9789187483165 ; , s. 7-18
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 2. |
|
|
| 3. |
|
|
| 4. |
|
|
| 5. |
- Bjerkeli, Per, 1977, et al.
(författare)
-
Odin observations of water in molecular outflows and shocks
- 2009
-
Ingår i: Astronomy and Astrophysics. - : EDP Sciences. - 0004-6361 .- 1432-0746. ; 507:3, s. 1455-1466
-
Tidskriftsartikel (refereegranskat)abstract
- Aims: We investigate the ortho-water abundance in outflows and shocks in order to improve our knowledge of shock chemistry and of the physics behind molecular outflows.Methods: We used the Odin space observatory to observe the H2O(110-101) line. We obtain strip maps and single pointings of 13 outflows and two supernova remnants where we report detections for eight sources. We used RADEX to compute the beam averaged abundances of o-H2O relative to H2. In the case of non-detection, we derive upper limits on the abundance.Results: Observations of CO emission from the literature show that the volume density of H2 can vary to a large extent, a parameter that puts severe uncertainties on the derived abundances. Our analysis shows a wide range of abundances reflecting the degree to which shock chemistry affects the formation and destruction of water. We also compare our results with recent results from the SWAS team.Conclusions: Elevated abundances of ortho-water are found in several sources. The abundance reaches values as high as what would be expected from a theoretical C-type shock where all oxygen, not in the form of CO, is converted to water. However, the high abundances we derive could also be due to the low densities (derived from CO observations) that we assume. The water emission may in reality stem from high density regions much smaller than the Odin beam. We do not find any relationship between the abundance and the mass loss rate. On the other hand, there is a relation between the derived water abundance and the observed maximum outflow velocity.Odin is a Swedish-led satellite project funded jointly by the Swedish National Space Board (SNSB), the Canadian Space Agency (CSA), the National Technology Agency of Finland (Tekes) and Centre National d'Étude Spatiale (CNES).The Swedish ESO Submillimetre Telescope (SEST) located at La Silla, Chile was funded by the Swedish Research Council (VR) and the European Southern Observatory. It was decommissioned in 2003. Appendix B is only available in electronic form at http://www.aanda.org
|
|
| 6. |
|
|
| 7. |
-
Browser Chance Music
- 2021
-
Konstnärligt arbete (mjukvara/multimedium)abstract
- Browser Chance Music lets the audience experience the high-frequency, invisible software activity that occurs in our mobile devices when we browse the web. Billions of citizens browse the web every day, everywhere. This activity is powered by billions of software operations that take care of connecting devices to the web and transporting the information from one side of the world to another. Yet, this amazing software activity is invisible, intangible and unknown by most users.Browser Chance Music explores interactive, spatialized sonification to let users experience this software activity. Through sound, we embody the rich software execution, which is usually disembodied and invisible on a regular interaction with software applications. One challenge we face in this project relates to the significant gap of temporality between the two phenomena: the visible act of browsing is performed at the speed of humans clicking buttons or swiping screens; meanwhile, software that runs in the browser to let humans access the world wide web, operates at a radically different speed, up to thousands of operations per second.
|
|
| 8. |
|
|
| 9. |
-
Concinnity
- 2022
-
Konstnärligt arbete (swepub:mat_score_t) (refereegranskat)abstract
- This is the second piece recently that I revisit James Tenney. It is an experiment in translating pitch distance to physical auditory space using Tenney's theory of harmonic space and the underlying concept of harmonic distance. Tenney devised an algorithm with which he created nearly symmetrical lattices of interrelated pitches, in which each pitch has a harmonic relationship to its surroundings, the fundamental being at the center. If the grid is constrained within the 7-limit he called it a 3,5,7-space and this is what this piece departs from. From the grid I constructed a series of somewhat symmetrical 4-note chords all sharing the same fundamental, and a few transpositions of one chord from three closely related pitches (3/2, 9/8 and 7/4). Each note in the grid is assigned a spatialized position relative to its position in the grid with the result that pitches at a low harmonic distance from the fundamental (octaves and fifths) are closer to the center of the physical space than more distant intervals. The saxophone is playing the fundamental from which the other pitches are generated in real time.
|
|
| 10. |
-
Exploring electronic music heritage through ethics and improvisation
- 2023
-
Konstnärligt arbete (refereegranskat)abstract
- In this lecture-recital Tresch and Dolan's notion that the material aspects, mediations and the telos of an instrument can provide grounds for an analysis of its /ethics/ is discussed. It may first appear odd to speak of ethics in relation to objects such as a musical instruments, and this is an attempt to revisit the origin of this idea and critically examine it by briefly discussing its roots in Foucault's /History of Sexuality part 2/ . In the presentation a performance on the /Dataton 3000/, a modular synthesizer and audio mixer designed in Sweden in the 1970's, is used to illustrate how these ideas can be understood and critically assessed. To attempt to understand the qualities and the particularities of this instrument a wide range of parameters need to be considered, including those related to the context in which it was originally created. Yet, development of performance practices may also happen by simply disregarding such information and treat the instrument primarily as a vehicle for the creativity of its player. In the attempt to understand the dialectical relation between staying true to the instrument's origin (according to some principle) and allowing new practices to be formed on top of old, or by simply bypassing existing and/or forgotten practices, there is a need for a method. Though the notion of an ethics of instruments as sketched out by Tresch and Dolan appears to be useful, it also raises questions related to the agency of the instrument in a network af agents formed through performance and through the interfaces that emrge in the playing.
|
|
