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| 2. |
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| 3. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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| 4. |
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| 5. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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Co-created staging : situating installations
- 2011
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Ingår i: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival. - Copenhagen.
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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. |
- Gunve, Fredric, et al.
(författare)
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Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
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Ingår i: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This paper performs a dialogue/an encounter between Madness (or the false mad Demidamia from the opera La Finta Pazza performed in Venice in 1641) and the Bastard (the illegitimate love child of arts, performance and education). Entangled they move through time, talking, confronting, shaping and diffracting a non‐existing form. Their method is about diffracting every inch of their journey. Meeting obstacles, facing resistance, walking into bubbles of flair and comfort, stepping into dilemmas and borderlands. Continuously asking themselves: What happens in the microscopic moment? When no/thing could even be imagined. On their way they challenge both time and existence. Learning through teaching through learning. Their journey is an ornamenting becoming in itself. It is an example of mattering as in meaning-‐making and knowledge processing, based on a performance of the indeterminable and affinity. The outcome in the performative encounter in itself – a potential model for teaching and learning in higher arts education.
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| 7. |
- Belgrano, Elisabeth, 1970
(författare)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 8. |
- Kular, Onkar, et al.
(författare)
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Bass Cultures: How Low Can You Go!
- 2023
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Ingår i: Falkenbergs teater, Smedjan & Art Inside Out, Halland.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this two day sonic festival we were supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event hosted film screenings, workshops, talks, commissioned essays and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The festival was organised by Right to design which is a practice-based platform run by Onkar Kular and Henric Benesch and through their artist-in-residency with Art Inside Out, Halland, Sweden.
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| 9. |
- Kular, Onkar, et al.
(författare)
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Bass cultures: How Low Can You Go!
- 2023
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Ingår i: Art Inside Out Journal: Den allmänna designbyrån. ; :16, s. 16-29
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
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| 10. |
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| 11. |
- Åshede, Linnea, 1987, et al.
(författare)
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Cassandra's Plight: Gender, Genre, and Historical Concepts of Femininity in Goth and Power Metal
- 2019
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Ingår i: 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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Bokkapitel (refereegranskat)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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| 12. |
- Andersson, Anders-Petter, 1969-, et al.
(författare)
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Musical interaction for health improvement
- 2014
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Ingår i: Oxford handbook of interactive audio. - Oxford : Oxford University Press. - 9780199797226 ; , s. 247-262
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Bokkapitel (refereegranskat)abstract
- During the past decade, tangible sensor technologies have matured and become less expensive and easier to use, leading to an explosion of innovative musical designs within video games, smartphone applications, and interactive art installations. Interactive audio has become an important design quality in commercially successful games like Guitar Hero , and a range of mobile phone applications motivating people to interact, play, dance, and collaborate with music. Parallel to the game, phone, and art scenes, an area of music and health research has grown, showing the positive results of using music to promote health and wellbeing in everyday situations and for a broad range of people, from children and elderly to people with psychological and physiological disabilities. Both quantitative medical and ecological humanistic research show that interaction with music can improve health, through music’s ability to evoke feelings, motivate people to interact, master, and cope with difficult situations, create social relations and experience shared meaning. Only recently, however, the music and health field has started to take interest in interactive audio, based on computer-mediated technologies’ potential for health improvement. Here, we show the potential of using interactive audio in what we call interactive musicking in the computer-based interactive environment Wave. Interactive musicking is based on musicologist Christopher Small’s concept “musicking”, meaning any form of relation-building that occurs between people, and people and things, related to activities that include music. For instance, musicking includes dancing, listening, and playing with music (in professional contexts and in amateur, everyday contexts). We have adapted the concept of "musicking" on the design of computer-based musical devices. The context for this chapter is the research project RHYME. RHYME is a multidisciplinary collaboration between the Centre for Music and Health at the Norwegian Academy of Music, the Oslo School of Architecture and Design (AHO), and Informatics at the University of Oslo. Our target group is families with children with severe disabilities. Our goal is to improve health and wellbeing in the families through everyday musicking activities in interactive environments. Our research approach is to use knowledge from music and health research, musical composition and improvisation, musical action research, musicology, music sociology, and soundscape studies, when designing the tangible interactive environments. Our focus here is interaction design and composition strategies, following research-by-design methodology, creating interactive musicking environments. We describe the research and design of the interactive musicking environment Wave, based on video documentation, during a sequence of actions. Our findings suggest some interactive audio design strategies to improve health. We base the design strategies on musical actions performed while playing an instrument, such as impulsive or iterative hitting, or sustainable stroking of an instrument. Musical actions like these can also be used for musicking in everyday contexts, creating direct sound responses to evoke feelings that create expectations and confirm interactions. In opposition to a more control-oriented, instrument and interface perspective, we argue that musical variation and narrative models can be used to design interactive audio, where the audio is seen as an actor taking many different roles, as instrument, co-musician, toy, etc. In this way, the audio and the interactive musicking environments will change over time, answering with direct response, as well as nose-thumbing and changing response, motivating creation, play, and social interaction. Musical variation can also be used to design musical backgrounds and soundscapes that can be used for creating layers of ambience. These models create a safe environment and contribute to shared meaning.
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| 13. |
- Andersson, Anders-Petter, 1969-
(författare)
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"Shoot ’em up -musik" : om musikaliska strukturer för interaktivt berättande i tevespelet Rez
- 2003
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Ingår i: NM/T Nutida Musik/Tritonus. - 0029-6597. ; :2, s. 26-30
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.
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| 14. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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| 15. |
- Rosengren, Cecilia, 1962, et al.
(författare)
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Inledning: Den kontroversiella barocken
- 2020
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Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 16. |
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)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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| 17. |
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| 18. |
- Olsson, Dan, 1963
(författare)
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Jeanna Åkerman
- 2016
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Ingår i: Levande Musikarv.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 19. |
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Barnet i kulturen
- 2020
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Ingår i: Barnläkaren. - 1651-0534. ; :5, s. 1-32
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Annan publikation (övrigt vetenskapligt/konstnärligt)
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| 20. |
- Tatlow, Mark, 1955
(författare)
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Arias for a Voiceless Singer: What Can They Teach Us about Eighteenth-Century Opera?
- 2023
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Ingår i: International Conference organised by Divino Sospiro (Centro de Estudos Musicais Setecentistas de Portugal), at Queluz National Palace: Historically Informed Performance.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper introduces my ongoing joint collaboration with Magnus Tessing Schneider on a vocal-score edition of fourteen of Luigi Bassi’s arias by other composers than Mozart. Covering the period 1780–1820, nine of the arias were specifically written for the singer by such little-known composers as Pietro Morandi, Angelo Tarchi, Peter Winter, Giovanni Liverati, Johann Joseph Rösler, and Francesco Morlacchi, while five of them come from some of his most popular roles in operas by Giovanni Paisiello, Antonio Salieri, Joseph Weigl, and Ferdinando Paer. As the common denominator in the aria collection, and as a singer whose voice was, somewhat paradoxically, not his most important calling card, Bassi provides an instructive example of how these arias may have been adapted in order to reach an audience. Together, the arias document what might be called Bassi’s ‘dramatic profile:' his preferred aria types as well as the types of characters, emotions, and dramatic situations that he excelled at portraying. I suggest that in reviving these arias today, performers are not always well-served by the 'urtext' culture that grew up in the twentieth century, largely in the service of the music of so-called ‘master composers’. Their scores often contain sufficient information for the needs of today’s performers, many of whom follow relatively recently established and successful codes of performance. But for the arias of lesser-known composers, the challenge lies in assessing what kind of performative flexibilities may have been applied by Bassi and harnessing them to reach an audiences today. I provide examples of how far performers may need to deviate from composers’ scores to achieve this aim and demonstrate that this is one way of developing the practices of historically informed performance. This is to use Bassi's unusual vocal profile as a stimulus for both historical speculation and practical experimentation.
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| 21. |
- Belgrano, Elisabeth, 1970
(författare)
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Understanding the singing self in performance of laments and madscenes in Italian and French 17th century opera.
- 2009
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Ingår i: EUFRAD (European Forum for Research Degrees in Arts and Design, 4-6 september 2009, Glasgow School of Art, Glasgow, UK.
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Konferensbidrag (refereegranskat)abstract
- This is an interdisciplinary study departing from vocal practice-based research in Baroque opera performance. The aim is to better understand minds and emotions of women performers during the 17th century with reference to 21 century performance practice, while exploring new possibilities of performing vocal music from the Baroque era.
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| 22. |
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| 23. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Reimagining the research archive: a dialogue
- 2016
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Ingår i: 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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Bokkapitel (refereegranskat)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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| 24. |
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| 25. |
- Brosius, Christiane, et al.
(författare)
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Out of Space
- 2019
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Ingår i: Seismograf. - 2245-4705. ; 21
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- An academic journal is a special place – even more so an online journal. On the one hand, it is surely one of the main stages of professional qualification, presentation and academic discourse, though regulated through its gatekeeping structures of peer review, official invitation, of academic critique and corrections: it represents an open and accessible, yet not unregulated public space in the best way thinkable. On the other hand, the individual articles in an academic journal can delve into the most remote, often forgotten, if not illegitimate, informal or ephemeral and intangible issues and practices.This Seismograf Fokus differs from our previous as it presents material in collaboration with the special issue Out of Space of the international journal in historical anthropology Paragrana. It was conceived, written, edited and produced from a wide array of physical locations on this planet; besides the research locations of the individual articles that comes from Kathmandu or Hong Kong as well as Braunschweig or Berlin, the editorial work was done in Nepal, Australia, Germany and Denmark.
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