| 1. |
- Frisk, Henrik, et al.
(författare)
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Acts of Creation : Introduction
- 2015
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Ingår i: Acts of Creation : Thoughts on artistic research supervision - Thoughts on artistic research supervision. - 9789187483165 ; , s. 7-18
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
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| 3. |
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| 4. |
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| 5. |
- Bjerkeli, Per, 1977, et al.
(författare)
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Odin observations of water in molecular outflows and shocks
- 2009
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Ingår i: Astronomy and Astrophysics. - : EDP Sciences. - 0004-6361 .- 1432-0746. ; 507:3, s. 1455-1466
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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
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| 6. |
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| 7. |
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Browser Chance Music
- 2021
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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.
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| 8. |
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| 9. |
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Concinnity
- 2022
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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.
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| 10. |
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Exploring electronic music heritage through ethics and improvisation
- 2023
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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.
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| 11. |
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Exploring electronic music heritage through ethics and improvisation
- 2023
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Konstnärligt arbete (mjukvara/multimedium) (refereegranskat)abstract
- The work presented here is part of the research project /Historically informed design of sound synthesis: A multidisciplinary, structured approach to the digitisation and exploration of electronic music heritage/. <2> It engages with historically-informed sound synthesis through a collection of electronic instruments from the sixties and seventies collected by the Swedish Performing Arts Agency and archived by the Performing Arts Museum in Stockholm. The instruments in the collection are explored artistically in order to reveal both past practices as well as discover new ones.In this presentation I will talk about how my work in the project has had a big impact on the way I think about artistic practice. I will bring in the topic of improvisation as a method for understanding these systems, and ethics as a means to navigate the complex interrelations that are embedded. The theoretical foundation for the thinking here is taken from Michel Foucault's volume 3 of his /History of Sexuality/.In a wider scope of contemporary technologies, the rate at which the development in general is progressing can quickly turn objects sometimes less than a decade old incompatible with current systems. A hypothesis here is that by learning from early electronic instruments using a structured approach it may be possible to better understand the complexities of what may be seen as a kind of media archeology.
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| 12. |
- Falkenstein-Hagander, Kathy, et al.
(författare)
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Waning infant pertussis during COVID-19 pandemic
- 2022
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Ingår i: Archives of Disease in Childhood. - : BMJ Publishing Group Ltd. - 0003-9888 .- 1468-2044. ; 107:3
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Tidskriftsartikel (refereegranskat)abstract
- Measures to reduce the spread of COVID-19 have been associated with reduction in other respiratory infections. Results of a national Swedish cohort study of infant pertussis during April 2020-September 2021 were compared with those during January 2014-March 2020. The number of pertussis cases decreased significantly during the COVID-19 pandemic, from an average of 21 infant cases per quarter of a year before the pandemic to an average of 1 case per quarter during the pandemic. Swedish strategies to mitigate the spread of COVID-19 seem to have had an impact on pertussis incidence in infants. Measures to prevent the spread of COVID-19 have also reduced other respiratory viral infections in children. This study from Sewden found that the number of infant pertussis infections also fell during the COVID-19 pandemic. The authors discuss the implications of this finding.
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| 13. |
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For Bill, Rising
- 2022
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Konstnärligt arbete (refereegranskat)abstract
- The title of this piece refers to my friend Bill (Brunson) and composer Jim Tenney (the reference in the title being to his piece "For Ann, Rising") both of whom have been incredibly important to me. The basic musical idea behind this composition is to use a simple synthesis model and create timbral variations through combining repetitions of the original sound. The tonality and the rhythms are both derived from a 7-limit, 11-note scale. Throughout the piece rhythms are treated as slowed down intervals and vice versa.
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| 14. |
- Frisk, Henrik, 1969-
(författare)
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Aesthetics, Interaction and Machine Improvisation
- 2020
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Ingår i: Organised Sound. - Cambridge : Cambridge University Press. - 1355-7718 .- 1469-8153. ; :1, s. 33-40
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Tidskriftsartikel (refereegranskat)abstract
- Departing from the artistic research project Goodbye Intuition(GI) hosted by the Norwegian Academy of Music in Oslo, thisarticle discusses the aesthetics of improvising with machines.Playing with a system such as the one described in this article,with limited intelligence and no real cognitive skills, willobviously reveal the weaknesses of the system, but it will alsoconvey part of the preconditions and aesthetic frameworks thatthe human improviser brings to the table. If we want theautonomous system to have the same kind of freedom wecommonly value in human players’ improvisational practice,are we prepared to accept that it may develop in a directionthat departs from our original aesthetical ambitions? Theanalyses is based on some of the documented interplay betweenthe musicians in a group in workshops and laboratories. Thequestion of what constitutes an ethical relationship in this kindof improvisation is briefly discussed. The aspect of embodimentemerges as a central obstacle in the development of musicalimprovisation with machines.
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| 15. |
- Frisk, Henrik, 1969-
(författare)
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ArtDoc - an Experimental Archive and a Tool for Artistic Research
- 2017
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Konferensbidrag (refereegranskat)abstract
- ArtDoc is an experimental database and archive for primarilydocumentation of artistic content. It attempts to address the questionof the diculty of documenting artistic practice in a manner that makesvisible the processes in action. The background to this project is discussedand the theory behind the development of open works. ThoughArtDoc is still under construction the foundation of the archive is presented.Finally some thoughts on the future of digital documentationsystems is discussed.
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| 16. |
- Frisk, Henrik, et al.
(författare)
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Beyond Validity
- 2013
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816.
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Tidskriftsartikel (refereegranskat)
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| 17. |
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| 18. |
- Frisk, Henrik
(författare)
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etherSound - an interactive sound installation
- 2005
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Ingår i: Third annual Spark festival of electronic music and art. ; , s. 42-45
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This article describes the interactive instrument/sound installation etherSound and discusses its artistic and ethical implications. etherSound is a work in progress and the main intent is to create a vehicle for audience participation through the use of SMS (Short Message Service). The two different contexts in which etherSound has been tried (in concert with performers and as a sound installation without performers) is discussed as well as the design of the system and the mapping between text and sound. A notion of 'democracy of participation' is introduced. The relatively fast response of the system, the familiarity of the interface (the cellular phone) and the accessibillity of the system suggests that the cellular phone can be successfully integrated in a sonic art work.
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| 19. |
- Frisk, Henrik, 1969-
(författare)
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Ett utvidgat musikaliskt fält
- 2020
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816 .- 2002-021X. ; 102
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Marina Pereira Cyrinos avhandling An inexplicable hunger: flutist)body(flute (dis)encounters lades fram vid Göteborgs universitet den 3 april 2019. Opponent var Catherine Laws, pianist och musikvetare vid University of York. Avhandlingen består av en bok och hela tio videor som på olika sätt dokumenterar de fem verk som avhandlingen innefattar. Boken är uppdelad i två delar varav den första fungerar som ett slags kappa, en på ett sätt fristående essä, som inte desto mindre ringar in forskningen. Den andra delen diskuterar de konstnärliga verken under rubrikerna Nocttuidae, Noctuoidea, Is she?, An aeroelastic flutter, Inside-out pastoral, Check out my w/holes.
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| 20. |
- Frisk, Henrik, 1969-
(författare)
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Exploring an ethics of instruments
- 2023
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Konferensbidrag (refereegranskat)abstract
- In this lecture-recital Tresch and Dolans'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.
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| 21. |
- Frisk, Henrik, 1969-
(författare)
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Forskning som undervisning : om forskning och undervisning på konstnärliga högskolor
- 2020
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Ingår i: Skandinavisk seminar i KU-basert musikkutdanning. - Oslo : NMH, CEMPE.
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Konferensbidrag (refereegranskat)abstract
- I denna presentation kommer jag diskutera ett samarbete mellan KMH (Kungl. Musikhögskolan) och KTH (Kungl. Tekniska Högskolan) som initierades 2016. En av målsättningarna var att bygga upp en forskningsmiljö i nära interaktion med grundutbildningen samt att möjliggöra en gemensam forskarutbildning. Programmet vände sig till anställda lärare på KMH som hade intresse för forskning. De lärare som blev antagna fortsatte arbeta på 50% som lärare samtidigt som de följde forskarutbildningen på KTH. Samtliga fyra doktorander hittills har involverat sina studenter i sin forskning, som en integrerad del av kurserna de undervisar. Studenterna har på så vis bidragit till forskningen vilket i sin tur har lett till en acceptans, forskningsmedvetenhet och intresse hos studenterna. Härutöver har det påverkat kusrsplaneutveckling inom de ämnen som det rör.Den konstnärliga forskningen i musik har haft en stark utveckling i Skandinavien under de senaste 20-30 åren. En anledning till framgången är att det relativt begränsade antalet platser har gått till etablerade musiker. Att studenter går från grundutbildning till forskarutbildning direkt är ovanligt, om ens möjligt. Fördelen med detta är att forskarutbildningen inte har behövt koncentrera sig på den konstnärliga delen, utan istället mer på hur detta kan gestaltas som forskning. Nackdelen är att kopplingen mellan grundutbildning och forskning inte har beaktats i tillräckligt stor utsträckning. Forskarutbildningen har skett i ett spår för sig och grundutbildningen har inte sett sig ha behov av den typen av kunskapsbildning som doktoranderna ofta intresserar sig för. Detta skapar flera utmaningar, inte minst som den konstnärliga akademin fortfarande på vissa ställen befinner sig i en konfliktliknande relation till det akademiska och akademiseringen ses som ett hot. Lösningen på den situationen är inte att akademisera det som ännu inte är akademiserat. Istället bör vi sträva efter att å ena sidan göra forskningsresultat användbara i konstnärlig undervisning, och å andra sidan skapa miljöer i vilka även konstnärlig praktik i, och för sig själv, ses som potentiella forskningsresultat.
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| 22. |
- Frisk, Henrik, 1969-, et al.
(författare)
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Found in translation
- 2019
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Ingår i: Seismograf (https://seismograf.org). - Köpenhamn.
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Tidskriftsartikel (refereegranskat)abstract
- This audio paper is an exploration of part of the process of making Drinking (2014) -a piece for voice, Vietnamese zither .àn tranh, and electronics. The composition is developedfrom composer William Brook’s project After Yeats in which Brooks providesan instruction describing a collaboration between a performer and a composer. AfterYeats is not itself a composition, but should rather be seen as a method with which acomposer and a performer may realize a score (Brooks 2013). At the outset the chosenpoem–A Drinking Song by William B. Yeats in a translation to Vietnamese, the nativelanguage of Nguyen Thanh Thuy–was recited, and it was the sonic trace of the readingthat was the point of departure for the composition Drinking. In this case the meaningof the words is of less signicance than the sound of the reading. After Yeats is insome ways an attempt to revive the tradition of chanting poems to a lyre accompanimentcommon in the practice of Yeats and his contemporaries. Henrik Frisk, a Swedishcomposer, takes the recording of the reading and, according to the instructions in AfterYeats,works to compose the piece according to the implications of the declamation fromNguyen’s reading. According toMarcel Cobussen, "listening also involves an opening ofthe senses that is not necessarily enfolded in conscious meaningfulness, by sense. It alsotakes place outside, before or beyond sense; it also refers to a sense that operates outside,before or beyond signication" (Cobussen 2008: p. 131). The emotional responses thatarise from engaging in artistic practice operate in similar ways to how Cobussen situateslistening in a space beyond signication. They may be communicated and sometimesbrought to the fore, but they always have a tendency to appear mysterious, arcane andephemeral. The inuence by the many diferent kinds of agents that may be found inBrooks’ meta-composition makes the creative process daunting to understand but is alsowrapped around the idea of what is to be found outside, before and beyond.
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| 23. |
- Frisk, Henrik, 1969-
(författare)
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Före eller efter : om konstnärlig erfarenhet och kunskapi konstnärlig praktik
- 2021
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Ingår i: Konstens kunskap. - Göteborg : ArtMonitor. - 9789198517170 ; , s. 177-192
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Bokkapitel (refereegranskat)abstract
- Konstnärlig forskning har haft en dynamisk och positiv utveckling de senaste tjugo åren,men vägen är fortfarande ojämn och lite knagglig: På ett bredare plan finns det relativtlite kunskap om vad det egentligen är, även på vissa konstnärliga högskolor och likasåfinns det fortfarande frågor kring vad den kan bidra med. Man kan förvisso fråga sig omkunskapen om till exempel den sociologiska eller antropologiska forskningens metoderoch resultat i allmänhet är större, eller om det finns en bredare insikt i på vilket sättforskning i, säg, fysik bidrar till samhällets utveckling. Dessa exempel på forskningsdis-cipliner är dock uppenbart politiskt och kulturellt mer etablerade på ett sätt som denkonstnärliga forskningen inte är, varför okunskapen är ett större problem i dessa fält äni andra.
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| 24. |
- Frisk, Henrik, 1969-
(författare)
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Hell is full of musical amateurs, but so is heaven
- 2017
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Ingår i: Seismograf. - Köpenhamn : Seismograf/DMT. - 2245-4705.
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Tidskriftsartikel (refereegranskat)abstract
- Today, whenwe think of musical performance inWestern art music, it is easy to takefor granted the division of labor between, for example, musician and composer. However,music has obviously been produced for many thousands of years without therebeing a need to compose and write it down before playing it. Most genres of music havesustained and developed without this split between creator and performer. In genreswhere improvisation play an important role the musician sometimes embodies both thecreative act and the interpretative–simultaneously. In musics built on aural traditionsthe composed component is integrally bound to the musician. However, as advancedand standardized technologies for systematic notation of music were developed in Europethe role of the musician slowly began to evolve into two, often separate parts: onepart primarily responsible for the construction of music (composer), and one part primarilyresponsible for the performance of it (musician). There is no doubt that compositionand notation are extraordinarily ecient means to structure, communicate andpreserve musical ideas and it is fair to assume that the development that led to the divisionof labor loosely sketched here participated in the advancement ofWestern musicinto new aesthetic areas.
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| 25. |
- Frisk, Henrik, 1969-
(författare)
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Identity formation through music in diaspora
- 2021
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Konferensbidrag (refereegranskat)abstract
- This video essay addresses the role of Nhac Vang (Yellow Music) - a form of Vietnamesepopular music - in identity formation among Vietnamese women in diaspora. Several importantstudies have been made of the role of music in Vietnamese immigrants (Cunningham &Nguyen, 1999; Reyes, 1999), but not specifically in Scandinavia. Cunningham & Nguyen(1999), in a study of the role of music and media in the formation of cultural identity amongVietnamese immigrants in Australia note “the felt need to maintain pre-revolutionary Vietnameseheritage and traditions; find a negotiated place within a more mainstreamed culture; or engagein the formation of distinct hybrid identities around the appropriation of dominant Westernpopular cultural forms” (p. 77).Building on interviews with Vietnamese women in diaspora in Scandinavia, the essayconstitutes initial preliminary results of Nguyen’s postdoctoral project. The project seeks adeeper understanding of the role of music in the negotiation of identity among Vietnameseimmigrants. The music in the video essay is composed through remote interaction betweenmembers of The Six Tones and other Vietnamese performers. The making of the music and thevarious constraints that the format of networked performance imposes is also discussed as partof the proposed paper.
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| 26. |
- Frisk, Henrik, et al.
(författare)
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Improvisation and the self: to listen to the other
- 2014
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Ingår i: Soundweaving: Writings on Improvisation..
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Bokkapitel (refereegranskat)abstract
- To listen to the other: This phrase raises an incalculable number of issues. One of the central topics in teaching improvisation is learning how to listen to those with whom one plays, but in my experience the most difficult task is listening to the self. The point of listening to the other in performance is obviously not to completely give up the self, nor is it to become the other, but to attune to, or find resonance with, the other. It is in the interaction between two or more musicians that open and unbound improvisation unfolds, in the space between adjusting to the other and listening to the self. In this paper, I will use my artistic practice in the Swedish-Vietnamese group The Six Tones as a context for approaching some of these questions concerning self and other by means of three concepts, each of which have a profound influence on the self: freedom, habit, and individuality. Though these concepts are very broad and deep, they will be tackled in a relatively limited and practical context.
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| 27. |
- Frisk, Henrik
(författare)
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Improvisation, Computers, and Interaction : Rethinking Human-Computer Interaction Through Music
- 2008
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Interaction is an integral part of all music. Interaction is part of listening, of playing, of composing and even of thinking about music. In this thesis the multiplicity of modes in which one may engage interactively in, through and with music is the starting point for rethinking Human-Computer Interaction in general and Interactive Music in particular. I propose that in Human-Computer interaction the methodology of control, interaction-as-control, in certain cases should be given up in favor for a more dynamic and reciprocal mode of interaction, interaction-as-difference: Interaction as an activity concerned with inducing differences that make a difference. Interaction-as-difference suggests a kind of parallelity rather than click-and-response. In essence, the movement from control to difference was a result of rediscovering the power of improvisation as a method for organizing and constructing musical content and is not to be understood as an opposition: It is rather a broadening of the more common paradigm of direct manipulation in Human-Computer Interaction. Improvisation is at the heart of all the sub-projects included in this thesis, also, in fact, in those that are not immediately related to music but more geared towards computation. Trusting the self-organizing aspect of musical improvisation, and allowing it to diffuse into other areas of my practice, constitutes the pivotal change that has radically influenced my artistic practice. Furthermore, is the work-in-movement (re-)introduced as a work kind that encompasses radically open works. The work-in-movement, presented and exemplified by a piece for guitar and computer, requires different modes of representation as the traditional musical score is too restrictive and is not able to communicate that which is the most central aspect: the collaboration, negotiation and interaction. The Integra framework and the relational database model with its corresponding XML representation is proposed as a means to produce annotated scores that carry past performances and version with it. The common nominator, the prerequisite, for interaction-as-difference and a improvisatory and self-organizing attitude towards musical practice it the notion of giving up of the Self. Only if the Self is able and willing to accept the loss the priority of interpretation (as for the composer) or the faithfulness to ideology or idiomatics (performer). Only is one is willing to forget is interaction-as-difference made possible. Among the artistic works that have been produced as part of this inquiry are some experimental tools in the form of computer software to support the proposed concepts of interactivity. These, along with the more traditional musical work make up both the object and the method in this PhD project. These sub-projects contained within the frame of the thesis, some (most) of which are still works-in-progress, are used to make inquiries into the larger question of the significance of interaction in the context of artistic practice involving computers.
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| 28. |
- Frisk, Henrik, 1969-
(författare)
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Intercultural Collaboration through Networked Performance
- 2020
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- As the Covid-19 pandemic continues to affect individual musicians, ensembles and concert institutions, streaming technology has become a central vehicle through which musicians and audiences can meet. But this forced move to digital presence also suggests new possibilities, beyond the ongoing coronavirus pandemic. This paper discusses how networked performance, a format which has engaged artists for decades as an artform in its own right, may also contribute to the sustaining of cultural heritage among migrant/minority communities as well as to the development of innovative intercultural artistic practices. Building on the experience of our group, The Six Tones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, we wish to develop a more robust understanding of the possibilities, and the limitations, that networked technology affords. The central source of our own work is drawn from Musical Transformations, an ongoing project which studies the intersection between traditional and experimental music in globalized society. We address the role of social interaction in the practice for intercultural collaboration, developed by The Six Tones since 2006, and discuss how such interactions are made difficult when collaborating through mediation of digital technology. In this context we believe that it is possible to also study what the limitations that the technologies impose and what the nature of these limitations amount to. Such a study may be useful also in other areas of digital interaction. Qualitative analysis of video documentation from rehearsals and performances constitute the foundation for the study. In the presentations we further discuss the projected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, with reference to the first networked performance carried out live on a scene in Hanoi on July 12, 2020, curated by The Six Tones at Manzi. This project situates the discussion even more immediately in the current developments of music culture at the time of the pandemic. The presentation, by the four authors, is supplemented with video from networked performances, as well as interviews with the group and guest performers documented on video.
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| 29. |
- Frisk, Henrik, 1969-, et al.
(författare)
-
Intersubjective knowledge through artistic research : approaches to transcultural dialogue through stimulated recall
- 2020
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Konferensbidrag (refereegranskat)abstract
- In this panel discussion we address the theme of “Working together” in relation to the following question: How can intersubjective understanding and new knowledge be drawn from artistic collaboration? The presentation explores the method of stimulated recall, such as it has been used and developed within the work of the Vietnamese/Swedish group The Six Tones.The group was created in 2006 and in 2009, the group took part in their first artistic research project, (re)thinking Improvisation. As part of their work in the project, the group studied their interactions through stimulated recall, using video documentation of rehearsals and performances as a source. The material recorded in 2009 has been coded and re-coded in several periods across the years, and most recently in 2019, when creating a new analysis of the working process for a chapter in Stefan Östersjö’s book Listening To The Other (2020).The structure of the panel is based on sharing materials from earlier work of the group, in the form of video clips and parts of analysis produced. We provide a background to qualitative analysis of video through stimulated recall in music research, but the panel first and foremost aims to create a dialogue with the participants in the conference on these perspectives on knowledge and methods in artistic research. Video clips from previous analysis and earlier coding and annotations, as well as more extended analytical approaches will be presented, also by the participants in the panel again viewing some of these source videos and reflecting on them, thereby enacting a stimulated recall session. How can the collaborative methods that we developed through (re)thinking Improvisation be understood, in terms of the broader context of music scholarship, as innovative forms of knowledge development? Since the time of Pythagoras and Plato, scholars have theorized ways that the communicative nature of musical sound might best be explained. Even since Medieval times, empirical studies of music, such as those documented by Al Farabi in Kitab al-Musiqa al-Kabir (The Great Book of Music), were deemed sufficiently important to constitute a distinct field, ultimately known as musicology, resulting in a division of music studies into musica practica and musica theoretica with its bifurcation of performers and theorists. From the late 19th century, many empirical researchers emphasized behavioral approaches, with a focus on documentation of the array of precise measurable actions connected to musical activity. Such approaches have produced many important insights, yet do not take into account the perceptions and experiences of performers. Other kinds of researchers, such as ethnographers and phenomenologists, made extensive use of interviews, sometimes in combination with observations. Interviews lead to insights of a different kind, but are notoriously unreliable for an array of reasons, including personal biases and tainted interpretations, self-censorship, memory issues, and researcher effects. The historical division of musica practica and musica theoretica started to be directly challenged in the mid-20th century with the rise of the “bimusicality” movement among ethnomusicologists, and – a few decades later later—the “artistic research” movement among academic artists of all kinds, as artistic and academic projects were increasingly intertwined, resulting in new perspectives regarding what counts as musical knowledge. It is within the context of artistic research and ethnomusicology that our project has introduced applications of a method known as video stimulated recall. Stimulated recall first began entering musical study as a method that was pioneered in the field of psychology. By presenting participants with video-recorded actions to reflect upon, stimulated recall as a method seeks to improve the richness and precision of interviews, so their capacity to produce deep insights is greatly enhanced by reference to automatically recorded behaviors. Depending on how it is defined, “stimulated recall” may be understood as associated with the use of images in therapy sessions as part of psychological research as early as the 1950s. However, in music research stimulated recall is typically understood today as a strategy that employs the use of audio or audiovisual recordings as a basis from which to stimulate precise discussion of musical techniques.How exactly have previous music-related studies made new insights by pioneering the application of video stimulated recall strategies, and what has our project done to extend further with methodological innovation? As recent as 2009, a study in the international journal Music Education Research was able to identify previous studies in education that used stimulated recall method, but not any in music (Rowe, 2009). However, across the past decade various music studies have made use of video stimulated recall methods, including from the very year that Rowe’s study was published (Heikinheimo, 2009), a significant proportion of which are from the Nordic countries (e.g. Falthin, 2015; Heikinheimo, 2009; Soderman & Folkestad, 2004, etc.). Moreover, while the term “video stimulated recall” was not explicitly used at the time, some innovative studies of musical interaction in jazz from the perspective of communication theory were developed as early as the late 1980s by Bastien & Hostager (1988, 1992, 1996) that might best be understood as pioneering the use of stimulated recall methods in music. In these studies, jazz musicians were videotaped in the course of improvised performance and later asked to explain the processes observed. More recently, notable studies have included doctoral dissertations in Europe (Falthin, 2015) on meaning-making processes among young music students, and in North America (Bell, 2013) on interaction with technologies in the music recording process. Articles using this method in major journals have examined such topics as the views of expressive performance among young music students (Meissner, Timmers & Pitts, 2020) and how music teachers and students view the role of creativity in music performance (James, Wise, & Rink, 2010). There have thus far been relatively few stimulated recall studies of advanced musicians and situations in which musicians are negotiating between different musical traditions across a cultural divide, yet stimulated recall methods promise insights in these areas as well. Our work may be among the first to use stimulated recall methods to examine intercultural music making, although not the first to use these strategies for study of other aspects of music making nor intercultural issues. In fact, there are previous examples of this method being used for cross-cultural research in Vietnam, although not in the field of music (Nguyen & Tangen, 2017). Rather, what makes the approach used in our study unique is that the robust capabilities of stimulated recall strategies are used to explicate complex experiences and processes are brought to bear on aesthetic decision making associated in both traditional and experimental musicianship in the context of an intercultural project. In such a way, the work of the Six Tones in this project has extended significantly on previous methods and research findings. Our initial motivation for developing the methods for analysis of our artistic practice was the challenge we faced as a group of musicians involved in intercultural collaboration. In The Six Tones, musicians from traditional Vietnamese music would engage with musicians from the west, negotiating musical practices as the practice is unfolding. At the early stages of this process the language barrier highlighted the different perspectives and the need to make these perspectives a central aspect of the artistic process. At the bottom line, the challenge we experienced was rooted in how our listening, as professional musicians, is socio-culturally situated, and therefore biased. An extra effort is therefore necessary to move beyond stereotypical interaction, and the aim of the method we developed was to accommodate new forms of listening that engender more dynamic artistic exchange. As developed for artistic research purposes by the group, it would be a mistake to see the method of stimulated recall as primarily aiming for the production of discursive analytical layers, i.e. the coding and annotations. In the practice of The Six Tones, it is instead the ways in which the shared listening, enhanced through the method, has created a new listening practice within the group: a transformed listening. The process of verbalizing and signifying the experience of repeated listening is an important part of the process, but not the final goal. Rather, it is this transformed listening, and the ability to establish modes of interaction with musical Others beyond cultural prejudice, which has been the central ambition. The panel discusses how such a listening practice emerged within the group, but also gives examples of how such forms of listening has subsequently been shared with other musicians in intercultural collaboration. Our reference is the work carried out in the ongoing research project Musical Transformations, involving master performers in a tradition in the south of Vietnam, and how they describe experiences of transformed listening, through the process of intercultural music making, and the use of stimulated recall. We understand a musician’s listening as embodied, and therefore situated in the interaction with their instruments, and other musical tools, such as tonal systems and forms of notation. A transformed performance practice can be seen as evidence of a transformed listening. We also argue that novel modes of listening can be evidenced in the interaction between musicians in performance. When artistic research is manifested in performance, its outcomes must also be assessed through its force and effec
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| 30. |
- Frisk, Henrik, et al.
(författare)
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Intraoperative MRI without an intraoperative MRI suite : a workflow for glial tumor surgery
- 2024
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Ingår i: Acta Neurochirurgica. - : Springer. - 0001-6268 .- 0942-0940. ; 166:1
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Tidskriftsartikel (refereegranskat)abstract
- Background: Intraoperative MRI (iMRI) has emerged as a useful tool in glioma surgery to safely improve the extent of resection. However, iMRI requires a dedicated operating room (OR) with an integrated MRI scanner solely for this purpose. Due to physical or economical restraints, this may not be feasible in all centers. The aim of this study was to investigate the feasibility of using a non-dedicated MRI scanner at the radiology department for iMRI and to describe the workflow with special focus on time expenditure and surgical implications.Methods: In total, 24 patients undergoing glioma surgery were included. When the resection was deemed completed, the wound was temporarily closed, and the patient, under general anesthesia, was transferred to the radiology department for iMRI, which was performed using a dedicated protocol on 1.5 or 3 T scanners. After performing iMRI the patient was returned to the OR for additional tumor resection or final wound closure. All procedural times, timestamps, and adverse events were recorded.Result: The median time from the decision to initiate iMRI until reopening of the wound after scanning was 68 (52-104) minutes. Residual tumors were found on iMRI in 13 patients (54%). There were no adverse events during the surgeries, transfers, transportations, or iMRI-examinations. There were no wound-related complications or infections in the postoperative period or at follow-up. There were no readmissions within 30 or 90 days due to any complication.Conclusion: Performing intraoperative MRI using an MRI located outside the OR department was feasible and safe with no adverse events. It did not require more time than previously reported data for dedicated iMRI scanners. This could be a viable alternative in centers without access to a dedicated iMRI suite.
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| 31. |
- Frisk, Henrik, et al.
(författare)
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Introduction: Sounds of Science : Composition, recording and listening as laboratory practice
- 2021
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Ingår i: Seismograf. - 2245-4705. ; :26
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Tidskriftsartikel (refereegranskat)abstract
- Research in music, sound art and sound studies is not only a matter of listening and experiencing auditory phenomena. Neither is it limited to the study of scores, graphic notations or sonograms. With the still increasing expansion of practice-based research methods, many artists and scholars of music, sound art and sound studies now gain their knowledge through their creative practice, or through the process of recording soundscapes and various sound experiments such as filtering or editing them. These often inductive processes are comparable to natural science executed in laboratories, where one also can find carefully planned practices leading to new knowledge that could not have been achieved otherwise. It is not only the carefully planned acts that count – so do all the embedded mistakes, unintended turns, unexpected discoveries and unintentional outcomes.The title “Sounds of Science” of this special issue is not only catchy, it is also a direct reference to such scientific studies. In the 2005 article “The Sounds of Science: Listening to Laboratory Practice” – an anthropological study of a variety of laboratory practices among researchers and engineers working in and around materials science and surface science – the author of the article, Cyrus C. M. Mody, states:Labs are full of sounds and noises, wanted and unwanted, many of which are coordinated with the bodily work of moving through space, looking at specimens, and manipulating instruments. Sounds are fully woven into the knowledge that emerges from experimental practice. … this article is an invitation to practitioners of lab studies to stage performances of John Cage’s 4’33” at the sites of scientific work and listen to laboratory practice. (176)Mody invites fellow anthropologists to listen carefully to the (non-aesthetic) sounds emerging in the laboratory, and to produce new knowledge from them – the same way John Cage invited participants to listen to the non-intentional sounds in the concert hall in his canonic silent work. Related research can be found in Pinch and Bijsterveld’s edited volume The Oxford Handbook of Sound Studies (2011), where scholars with backgrounds in history, sociology and Science Technology Studies (STS) reflect on phenomena of sound in laboratories as well as in other professional, everyday and even musical settings. Bijsterveld’s own monograph Sonic Skills (2019) adds extensive insights into the role of the scientist today and historically, and how they relate to sound in their laboratory practices. Further, the anthropologist Stefan Helmreich introduces what he calls “transduced” sounds, when observing and analysing scientists’ experience of mediated sound in underwater settings, by joining them during their work situations in submarines (Helmreich 2007, 2009, 2015).Some of the papers in the current special issue bear a direct relation to the anthropological and STS inspired work above. Others relate to the John Cage inspired invitation from Mody, but in an almost reverse way: coming from the tradition of the musical avantgarde, these papers produce new knowledge by turning the open aesthetics and aleatoric acts into inductive laboratory processes. The authors of these papers explore and learn from their musical practices, their listening to soundscapes or their recording experiments as if they were taking place in scientific laboratories. Yet another research practice, the emerging field of Sound and Music Computing (SMC), combines an even wider range of scientific methodologies related to sound and music where the music contributes to research practices that are not artistically or musicologically oriented.Another articulation of interdisciplinary research practice of relevance to this issue is the field of media archeology. Not yet a formalized discipline, media archaeology can be seen as the attempt to resist a focus on the present and the ‘newness’ of new media, and enter into an investigative approach to the understanding of the progression of media. Originally its theoretical understructure was shaped by Foucauldian thinking, but the cultural critic Walter Benjamin and media theorist Marshall McLuhan are other obvious points of reference. With the ever faster development cycles in today’s new technologies, the critical characteristic of media archeology can be seen to have an obvious relevance given present communication technologies. A 20 year old mobile phone may not even register with the contemporary mobile networks, 15 year old media may not play in current media players, and other kinds of technologies and interfaces are growing out of fashion even quicker than that.With sound as the laboratory the media archaeological investigation is extended even further. Exploring obsolete technology, such as old synthesizers, oscillators and cassette tapes for contemporary artistic practice, may bring forth new invocations. Or, as Huhtamo and Parikka describe it:[…] these artists create a cyclical motion in a way many media archaeologists no doubt endorse. There is no separation; instead, there is constant interchange, a cruise in time. The past is brought to the present, and the present to the past; both inform and explain each other, raising questions and pointing to futures that may or may not be. (Huhtamo & Parikka 2011, 15)Media archaeology takes a step back in order to explore media on, so to say, its own premises. As a consequence, prominent as well as less prominent media are brought to life in order to revisit their functions and behaviours, and to gain an understanding of why they came – or why they did not come – to play a dominant role in media history. Along with many other theories, part of the theoretical undercurrents of the attempt by media archeology to rewrite media history are postcolonial studies, the influence of which can also be seen in several of the contributions in this issue.The perspectives from which the research is performed and analysed differ throughout the contributions in this special issue. Several of the papers are developed from the perspective of so-called “practice-researchers”, discussing empirical work that is both created and analysed by the author. Others explore phenomena created or told by a third person. It is possible, but also slightly naïve, to see a field recording as a representation of an emic perspective, as if it is neutral in relation to that which it represents. Recording technology, however, is nothing but neutral. It invades the thing it records, which is something sound artists have used to their advantage for at least 50 years, but also something that needs to be considered in ethnographic research. The very format of the audio paper is a stage for exploring the range of possibilities with recording as a method: a means of representing and positioning several voices, and as a tool for documentation.While the contributions differ in their perspectives, and in theoretical and methodological approaches, they share the principle that all the researchers authoring these articles and audio papers have gained their knowledge directly from the sonic material they work with, whether it is a piano tune, an interview, a field recording or an old gramophone.
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| 32. |
- Frisk, Henrik, 1969-
(författare)
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L’improvisation et le moi : écouter l’autre
- 2021
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Ingår i: PaaLabRes. - Paris, France.
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Tidskriftsartikel (refereegranskat)abstract
- Écouter l’autre : cette phrase soulève un nombre incalculable de questions. Apprendre à écouter ceux avec qui l’on joue est un des aspects essentiels de la pratique de l’improvisation, mais, par expérience, je pense que la tâche la plus difficile est de s’écouter soi-même. Écouter l’autre tout en jouant ne veut évidemment pas dire qu’il faille complètement renoncer à sa propre identité, ni devenir comme l’autre, mais s’accorder ou entrer en résonance avec l’autre. C’est dans l’interaction entre plusieurs personnes (deux ou plus) que se déroule l’improvisation ouverte et sans attaches, dans un jeu qui se situe entre s’ajuster à ce que fait l’autre et s’écouter soi-même. Dans cet article, ma pratique artistique au sein d’un groupe suédois-vietnamien The Six Tones sert de contexte pour aborder quelques aspects de la question du moi [self] et de l’autre, en utilisant trois concepts, chacun exerçant une profonde influence sur le moi [self] : la liberté, l’habitude et l’individualité. Je n’aborderai ces concepts, si vastes et profonds, que dans un contexte relativement limité et tourné vers la pratique.
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| 33. |
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| 34. |
- Frisk, Henrik, 1969-, et al.
(författare)
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Musical Transformations: Networked Performance in Intercultural Music Creation
- 2020
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Konferensbidrag (refereegranskat)abstract
- With the worldwide lockdown affecting individual musicians and concert halls, streaming technology has become a central vehicle through which musicians and audiences can meet. But this forced move to digital presence also suggests new possibilities, beyond the ongoing coronavirus pandemic. This paper discusses how networked performance, a format which has engaged artists for decades as an artform in its own right, may also contribute to the sustaining of cultural heritage among migrant/minority communities as well as to the development of innovative intercultural artistic practices. Building on the experience of our group, The Six Tones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, we wish to develop a more robust understanding of the possibilities, and the limitations, that networked technology affords. The central source of our own work is drawn from Musical Transformations, an ongoing project which studies the intersection between traditional and experimental music in globalized society. We address the role of social interaction in the practice for intercultural collaboration, developed by The Six Tones since 2006, and discuss how such interactions are made difficult when collaborating through mediation of digital technology. In this context we believe that it is possible to also study what the limitations that the technologies impose and what the nature of these limitations amount to. Such a study may be useful also in other areas of digital interaction. Qualitative analysis of video documentation from rehearsals and performances constitute the foundation for the study. In the paper, we further discuss the projected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, with reference to the first networked performance carried out live on a scene in Hanoi on July 12, 2020, curated by The Six Tones at Manzi. This project situates the discussion even more immediately in the current developments of music culture at the time of the pandemic. The presentation, by the four authors, is supplemented with video from networked performances, as well as interviews with the group and guest performers documented on video. The Six Tones and Phạm Công Tỵ play an experimental version of Vọng cổ, a traditional tune from the south of Vietnam. The Six Tones are Nguyễn Thanh Thủy (who plays Đàn tranh), Ngô Trà My (who plays Đàn bầu), Stefan Östersjö (Vietnamese electric guitar) and Henrik Frisk (electronics).
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| 35. |
- Frisk, Henrik, 1969-, et al.
(författare)
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Musical Transformations: Networked Performance inIntercultural Music Creation
- 2020
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Konferensbidrag (refereegranskat)abstract
- With the worldwide lockdown affecting individual musicians and concert halls, streamingtechnology has become a central vehicle through which musicians and audiences can meet. Butthis forced move to digital presence also suggests new possibilities, beyond the ongoingcoronavirus pandemic. This paper discusses how networked performance, a format which hasengaged artists for decades as an artform in its own right, may also contribute to the sustaining ofcultural heritage among migrant/minority communities as well as to the development ofinnovative intercultural artistic practices. Building on the experience of our group, The SixTones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, wewish to develop a more robust understanding of the possibilities, and the limitations, thatnetworked technology affords. The central source of our own work is drawn from MusicalTransformations, an ongoing project which studies the intersection between traditional andexperimental music in globalized society. We address the role of social interaction in the practicefor intercultural collaboration, developed by The Six Tones since 2006, and discuss how suchinteractions are made difficult when collaborating through mediation of digital technology. Inthis context we believe that it is possible to also study what the limitations that the technologiesimpose and what the nature of these limitations amount to. Such a study may be useful also inother areas of digital interaction. Qualitative analysis of video documentation from rehearsalsand performances constitute the foundation for the study. In the paper, we further discuss theprojected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, withreference to the first networked performance carried out live on a scene in Hanoi on July 12,2020, curated by The Six Tones at Manzi. This project situates the discussion even moreimmediately in the current developments of music culture at the time of the pandemic. Thepresentation, by the four authors, is supplemented with video from networked performances, aswell as interviews with the group and guest performers documented on video.
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| 36. |
- Frisk, Henrik, et al.
(författare)
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Negotiating the musical work : An empirical study
- 2006
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Ingår i: ; , s. 242-249
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Konferensbidrag (refereegranskat)abstract
- In this paper we explore the inter-relations between performer and composer through twoempirical studies and the result of this work is intended to lay the ground fora new work for guitar and computer by Henrik Frisk for Stefan Östersjö. Bybetter understanding the composer-performer interaction we also hope to betterunderstand the necessary conditions for a successful performer-computerinteraction. We approach the issue using a semiological approach and aqualitative method. In the works studied we find reason to suggest thatcomposition as well as performance interpretation oscillate betweenconstructive and interpretative activities. From this we draw some conclusionsthat we will attempt to develop and implement in the upcoming collaborativework.
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| 37. |
- Frisk, Henrik, et al.
(författare)
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New Communications Technology in the Context of Interactive Sound Art: an empirical analysis
- 2005
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Ingår i: Organised Sound. - 1469-8153. ; 10:2, s. 121-127
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Tidskriftsartikel (refereegranskat)abstract
- In this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmö Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. We also attempt to describe what we believe an implementation of active public participation can lead to. We are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. The latter is, by definition, rather subject centred and expansive based on individual observation. We examine and analyse the phenomenon of ‘participation’ whilst playing etherSound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity.
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| 38. |
- Frisk, Henrik, 1969-
(författare)
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On the intuition of a machine
- 2020
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Ingår i: Research Catalogue. - Oslo : Research Catalogue.
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Forskningsöversikt (övrigt vetenskapligt/konstnärligt)abstract
- One of the great challenges of any research project that spans over several years is to keep the project contained and avoid it from going off in directions less useful for answering the questions posed. Yet, it has to be open enough to allow for unexpected findings in the fringes of the practice. This is especially true of artistic research projects, as they have a tendency to be interdisciplinary and sometimes broad-brushed, which in fact may be seen as one of the qualities of the field. Furthermore, the artistic practice and its contexts, which may sometimes itself be difficult to delimit, are at least at the outset the original bounds of an artistic research project. The difficulties, however, remains to know when a trajectory should be given up or stayed with: When is this particular issue exhausted in the context of the project? It is through method development that a field of research practice can evolve, and we, as artists and researchers, can learn to become better at making those decisions.
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| 39. |
- Frisk, Henrik, 1969-
(författare)
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On the self and ethics in musical improvisation : What can we learn?
- 2023
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Konferensbidrag (refereegranskat)abstract
- There have been many attempts to draw wide-ranging conclusions on the knowledge offered by the specific type of musical practice that is summarized by the word improvisation. The fact that we in the West tend to specify improvisation as the exception to score-based music, a norm situated at the center of Western high culture, is odd considering that most music was based on improvisation long before musical notation was invented. This view contributes to the understanding of improvisation as a practice that deviates from the rule, a fringe alternative on the outskirts of other, more dominant musical practices. This is further emphasized by the structural and economic differences between, for example, free improvised music and Western classical music.At the same time, the discussion concerning improvisation has often excluded many non-western types of music that are improvisatory by nature, and instead mainly focused on its practice in Western musical styles. For that reason, I believe that the stylistic delimiter improvisation can be problematic. In this presentation, I will mainly discuss improvisation as a possible catalyst for individual, as well as more general knowledge formation closely related to ethics. I will introduce ideas about how improvisation can be part of a method with which different values may be proposed. Values that may offer an interesting opposition, or tension, to those proposed by the capitalist structures currently dominating the world. These are not necessarily 'better' but can help to reveal how a multiplicity of perspectives can be applied to questions concerning what it means to make good decisions, and to be a good human being.The point I will attempt to pursue is how ethics in artistic practices, that is, the moral values that are expressed through artistic practices in music, specifically improvisation, may complement traditional views on ethics. Furthermore, the hypothesis is that the results of such exploration may contribute to the understanding of ethics in a more general sense. In turn, this could potentially have an impact on how improvisatory practices are esteemed in contemporary Western societies. The notion of the Care of the Self, as discussed in Michel Foucault's Volume Three of the History of Sexuality, is used as a method to approach this complex area.
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| 40. |
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| 41. |
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| 42. |
- Frisk, Henrik, 1969-
(författare)
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Traces of Sound
- 2023
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Bok (refereegranskat)abstract
- Even unheard sounds can be perceived and not only the ear hears sound, so does the body. The thing that constitutes sound, changes in air pressure, happens obviously also when we cannot hear it, and even if we listen, we may not hear it. From a physical point of view there is little difference between the frequencies that fall outside the audible range and those that fall within it, both are functions of changes in air pressure. Sounds that have not yet been heard, those that are imagined, and those that have long been silenced are part of our listening activity, perceptually as real as the physical.
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| 43. |
- Frisk, Henrik, 1969-
(författare)
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Traces of Sound: Introduction
- 2023
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Ingår i: Traces of Sound. - Lund : Publications from the Sound Environment Centre. - 9789189874190 - 9789189874206
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 44. |
- Frisk, U., et al.
(författare)
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The Odin satellite - I. Radiometer design and test
- 2003
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Ingår i: Astronomy and Astrophysics. - 0004-6361 .- 1432-0746. ; 402:3, s. L27-L34
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Tidskriftsartikel (refereegranskat)abstract
- The Sub-millimetre and Millimetre Radiometer (SMR) is the main instrument on the Swedish, Canadian, Finnish and French spacecraft Odin. It consists of a 1.1 metre diameter telescope with four tuneable heterodyne receivers covering the ranges 486-504 GHz and 541-581 GHz, and one fixed at 118.75 GHz together with backends that provide spectral resolution from 150 kHz to 1 MHz. This Letter describes the Odin radiometer, its operation and performance with the data processing and calibration described in Paper II.
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| 45. |
- Gharios, Maria, et al.
(författare)
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The use of hybrid operating rooms in neurosurgery, advantages, disadvantages, and future perspectives : a systematic review
- 2023
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Ingår i: Acta Neurochirurgica. - : Springer. - 0001-6268 .- 0942-0940. ; 165, s. 2343-2358
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Forskningsöversikt (refereegranskat)abstract
- Background: Hybrid operating rooms (hybrid-ORs) combine the functionalities of a conventional surgical theater with the advanced imaging technologies of a radiological suite. Hybrid-ORs are usually equipped with CBCT devices providing both 2D and 3D imaging capability that can be used for both interventional radiology and image guided surgical applications. Across all fields of surgery, the use of hybrid-ORs is gaining in traction, and neurosurgery is no exception. We hence aimed to comprehensively review the use of hybrid-ORs, the associated advantages, and disadvantages specific to the field of neurosurgery.Materials and methods: Electronic databases were searched for all studies on hybrid-ORs from inception to May 2022. Findings of matching studies were pooled to strengthen the current body of evidence.Results: Seventy-four studies were included in this review. Hybrid-ORs were mainly used in endovascular surgery (n = 41) and spine surgery (n = 33). Navigation systems were the most common additional technology employed along with the CBCT systems in the hybrid-ORs. Reported advantages of hybrid-ORs included immediate assessment of outcomes, reduced surgical revision rate, and the ability to perform combined open and endovascular procedures, among others. Concerns about increased radiation exposure and procedural time were some of the limitations mentioned.Conclusion: In the field of neurosurgery, the use of hybrid-ORs for different applications is increasing. Hybrid-ORs provide preprocedure, intraprocedure, and end-of-procedure imaging capabilities, thereby increasing surgical precision, and reducing the need for postoperative imaging and correction surgeries. Despite these advantages, radiation exposure to patient and staff is an important concern.
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| 46. |
- Hedås, Kim
(författare)
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Linjer : Linjer: Musikens rörelser – komposition i förändring
- 2013
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Title: Linjer. Musikens rörelser – komposition i förändringEnglish title: Lines: Music Moving – Composition ChangingAuthor: Kim Hedås Language: Swedish, with an English SummaryUniversity: The Academy of Music and Drama at the Faculty of Fine, Applied and Performing Arts, the University of Gothenburg, Box 100, SE-405 30 Gothenburg, SwedenKeywords: music, composition, relationship, connection, motion, movement, identity, time, memory, space, change, transformation, reflexivity, voice, meaning.ISBN: 978-91-979993-6-6 This dissertation takes the shape of a DVD, comprising the music in sixteen compositions, and a book, comprising the dissertation text. Lines: Music Moving – Composition Changing is a dissertation that focuses on relationships in music. The main question posed in this dissertation is: How does music relate to what is not music? Through an artistic inquiry, where a reflexive movement between the different parts produces the method used, the dissertation addresses the act of composing with particular focus on how music moves and how relations in music change. Results are also in motion, and traces – lines – move, change direction, and connect the music with what is not music. This inquiry embraces the following five themes: movement, identity, time, memory and space – which all relate to each other, and which, through composition, change, transform and reshape meaning as well as expression. The aim of this study is to demonstrate the changes that arise as a result of the relationships that are activated between music and what is not music, since an understanding of how these relationships work enables opportunities for the composition of new music.
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Hernik Frisk & Rikard Lindell duo
- 2023
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Konstnärligt arbete (ljud/tal) (refereegranskat)abstract
- I det här projektet undersöker vi på övergripande nivå hur såväl musiker som publik kan få tillgång till information som kan bidra till en ny typ av konsertupplevelse där plats och tid är två dimensioner som delvis är upplösta.q En konsert i skogen kan upplevas som specifikt i skogen även om du som publik befinner dig i en annan skog eller någon annanstans och kanske vid en annan tidpunkt. Vi kritiskt granskar, utforskar, undersöker och utvecklar merged reality som en metod för att skapa närvaro och engagemang i en ny form för konsert som erbjuder nya upplevelsemässiga möjligheter.Projektet undersöker också musikernas behov av åtkomst av konstnärligt material, både det egna och sådant som kan finns tillgängligt externt. Vi undersöker hur musiker mer effektivt kan komma åt, använda och återanvända sådant material vid kompositionstillfället såväl som i framförandet eller improvisationen. Vi utgår från en holistisk syn på konserten som en aktivitet där val som görs innan och i stunden är en del av musikens uttryck och något som kan synliggöras för lyssnaren samt att detta kan skapa nya förutsättningar för upplevelsen av deltagande. Detta även om, eller inte minst när, både tid och plats är förskjutet. En integrerad konstnärlig process vars början och slut i tid och rum löses upp.I denna duo undersöker vi dessa frågor genom vår egen improvisationspraktik.
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- Hjalmarson, Åke, et al.
(författare)
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Recent astronomy highlights from the Odin satellite
- 2005
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Ingår i: Advances in Space Research. - : Elsevier BV. - 0273-1177 .- 1879-1948. ; 36, s. 1031-1047
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Tidskriftsartikel (refereegranskat)abstract
- Astronomy highlights, mainly from the third year of Odin observations time shared 50/50% with aeronomy are presented: the very low O2 abundance limits achieved, the highly pressure broadened absorption lines of H2O, H218O, and CO (5 → 4) in the atmosphere of Mars, the high precision H2O and H218O observations of comets, the detections of NH3 and H2O around the C-rich star IRC+10216 (CW Leo) and of H2O around the O-rich star W Hya, NH3 and H2O observations of infall/outflow interactions, observations of H2O, H218O, H217O as well as NH3 and 15NH3 in multiple absorptions towards Sgr B2, and in emission towards Orion KL, the H2O detection of several new outflows in the DR21 W75S region. We also discuss the results of deconvolution of high S/N H2O, CO and 13CO (5 → 4) maps of the Orion KL region to 40″ resolution (the beam size of the Herschel telescope) and the first results from our ongoing “spectral scan” of Orion KL in bands around 555 and 570 GHz. Finally, a search for primordial molecules is presented.
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