| 1. |
- Andersson, Anders-Petter, 1969-
(author)
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"Shoot ’em up -musik" : om musikaliska strukturer för interaktivt berättande i tevespelet Rez
- 2003
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In: NM/T Nutida Musik/Tritonus. - 0029-6597. ; :2, s. 26-30
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Journal article (other academic/artistic)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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| 2. |
- Cappelen, Birgitta, 1962-, et al.
(author)
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Co-created staging : situating installations
- 2011
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In: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival. - Copenhagen.
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Conference paper (peer-reviewed)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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| 3. |
- Andersson, Anders-Petter, 1969-, et al.
(author)
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Musical interaction for health improvement
- 2014
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In: Oxford handbook of interactive audio. - Oxford : Oxford University Press. - 9780199797226 ; , s. 247-262
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Book chapter (peer-reviewed)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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| 4. |
- Johansson, Michael, 1962-, et al.
(author)
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Gestalt
- 2015
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Conference paper (peer-reviewed)abstract
- Many disciplines have the culture and nurturing to explore, create, and tell stories about worlds. Therefore, our contribution is about the re-discovery of an idea that has been crucial in occidental thinking and which became underestimated: the notion of gestalt. To conceive real-world (and other) phenomena in terms of gestalt helps to gain a holistic understanding of them, and the aim of our paper therefore is to promote a method to rediscover the world in a less analytical fashion than it has been done in the last 400 years, after an analytical-based perception of reality gained ground with the scientific method developed in the 17th century and later. At the same time, a gestalt-approach helps to reframe (and better understand) recent technological developments as outcomes of an analytical way of thinking. Because analysis and the shaping of processes and entities according to functionalities is not the only or most suitable way to generate understanding, despite we got used to such a general state of mind.To conceive the world primarily in analytical terms or as a set of functions became culturally accepted. A gestalt-approach can be a promising complement to the prevalent analytical approaches, and the general benefit of such an approach lies in the use of comparative methods to create knowledge or design processes. Also borrowing ideas from Design Theory where Gestalt is analogous to a design process, we can view it as a process of knowledge acquisition and learning from the previously unknown.Gestalt perception as well as -conception helps to develop another kind of epistemology than the prevalent analytical/functional one, as for instance cybernetics, system theories and bioengineering already demonstrated. It transcends the border between real and virtual towards envisioning a complete reality, and out of that proves to be a method of working with unknown phenomena.
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| 5. |
- Smedberg Bondesson, Anna
(author)
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Ecos etiska semiotik
- 1999
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In: Eco, Umberto, Fyra moraliska betraktelser. - Stockholm : Brombergs. - 9176087905 ; , s. 7-11
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Book chapter (pop. science, debate, etc.)
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| 6. |
- Smedberg Bondesson, Anna, 1968-, et al.
(author)
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Luften så klar : Nordeuropeiska konstnärer och författare i Rom 1780-1950
- 2020
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Book (other academic/artistic)abstract
- ”Även å den ödsligaste och osundaste sidan av Campagna di Roma, den åt Ostia till, […] är luften så klar, att den i de skarpaste drag visar de fjärmaste föremål. De förtrollande konturerna och perspektiven det veka smältande fjärran det harmoniskt rödaktiga i luften, som utbreder sig över alla föremål vid solens upp- och nedgång…” (Per Daniel Amadeus Atterbom minns sin resa till Italien 1817–19)Konstnärer, författare och andra kulturpersonligheter i norra Europa har längtat till Italien åtminstone från Goethe och framåt. Denna essäsamling ger ett brett perspektiv på den nordeuropeiska Italienbilden från sent 1700-tal till mitten av 1900-talet. Vi får följa såväl Goethe som H.C. Andersen och Georg Brandes på deras italienska resor, uppleva poeten John Keats sista dagar, se arbeten av målarna Gustaf Söderberg, Gustaf Wilhelm Palm, Carl August Ehrensvärd och Louis Masreliez, delta i salonger med aktrisen Emilie Högqvist, studera Colosseum genom arkitekten Gustaf af Sillén, höra romerska visor av Evert Taube och leva oss in i Percy Bysshe Shelleys dramatik, ta del av Selma Lagerlöfs förundran och August Strindbergs frustration.Sammantaget visar Luften så klar att den nordeuropeiska traditionen av Italienskildringar inte är så ensidigt romantiserande som historien vill göra gällande, utan i själva verket rymmer en stor komplexitet.Författarna är konst-, teater- och litteraturvetare verksamma i Sverige och Danmark.
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| 7. |
- Cappelen, Birgitta, 1962-, et al.
(author)
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From designing objects to designing fields : from control to freedom
- 2003
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In: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Journal article (peer-reviewed)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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| 8. |
- Johansson, Michael, et al.
(author)
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Abstraction and resilience: symbolics and space
- 2021
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Conference paper (other academic/artistic)abstract
- In our recent work on the topic ‘resilient communities’ for a workshop at the Venice Biennale 2021, Ideal Spaces Working Group investigates different aspects of spatial creation: the history of ideas, formats of representing space and tools of construction in historical, contemporary and built environments of the future. We address how abstract conceptions underlying assumptions, imagination and concrete views shape spatial construction and its representations, and how spatial creation tries to organize meaning and influence perception and understanding, shaping both the city and its inhabitants. With regard to the built environment, resilience depends on how a space is perceived by its inhabitants and how spaces designed for communities reflect this, especially their symbolic properties as ideal spaces for communal living. These properties are connected to the ways in which space is expressed via its overall shape as gestalt. In this respect, it is about how imagination operates via abstracting and symbolizing perception. In our work, we address why it is reasonable to depict representations of ideal places as symbolic spaces in a degree of abstraction that is far from photorealism, and to instead find other forms of representation. Furthermore, we explore how to avoid the uncanny valley that inevitably arises in virtual aesthetics when something is not quite right, and finally, how a readable yet intuitive formal language can be implemented.
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| 9. |
- johansson, michael, 1962-, et al.
(author)
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Fieldasy
- 2004
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In: Fieldasy. - Sheffield, UK.
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Conference paper (other academic/artistic)abstract
- Fieldasy is a process for engaging multiple perspectives in the creation of a world, and the mapping of its virtual space. While the final outcome lies ahead, the process has already produced a series of artistic expressions that drives the overall project forward. Fieldasy refers to the methods of field working and invoking imagination by using physical objects. The objects constitute a shared ground for collaborative creativity, serves as nodes in a complex narrative and as a basis for the creation of the world. In the paper, we describe the process, methods and the artifacts developed in this project. We also show how this approach can host and facilitate artistic development in a complex production environment such as the one of digital media, supported by invited artists, researchers (computer science) and students (interaction design), enabling diverse parties to transfer their knowledge into the project in an ongoing manner. Three aspects of the project are discussed: The Framework; the city of Abadyl, The Method; fieldasy and The Output; a series of artifacts eventually displayed in a series of exhibitions.
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| 10. |
- Lorenzoni, Patricia, 1975-
(author)
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Att färdas under dödens tecken : Frazer, imperiet och den försvinnande vilden
- 2008. - Ny utg.
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Book (other academic/artistic)abstract
- 1885 träffar den franske antropologen Paul Topinard en australisk kvinna kallad Jenny. Jenny ingår i en grupp ”vildar” som skickas runt för att visas upp på cirkusar, museer och djurparker i Europa och USA. Hennes make har just dött, hon är apatiskt likgiltig inför Topinards önskan om att få studera henne. Topinard tolkar detta som ett uttryck för hennes stupiditet. Detta är upptakten till Patricia Lorenzonis Att färdas under dödens tecken. Genom att studera hur vetenskapen konstruerar vilden visar hon hur den västerländska civilisationen döljer det våld och de offer som är dess eget fundament. Samtidigt som framsteget bejakas, varnar man ständigt för att civilisationen åter skall störta ner i vildhet. Vilden skapas inte bara som den civiliserades motsats, utan också som en bild av de sidor hos sig själv man inte vill se. I centrum står James G Frazers antropologiska klassiker Den gyllene grenen. I dess föreställning om vilden hittar Lorenzoni en västerländsk självförståelse som fortfarande är aktuell, om än med andra förtecken.
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