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  • 1.
    Frisk, Henrik
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori.
    Aesthetics, Interaction and Machine Improvisation2020Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, nr 1, s. 33-40Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    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.

  • 2.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Dimitrov, Smilen
    KTH Royal Institute of Technology.
    Using the Reactable as experimental interface for instrument design prototypingInngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    This paper describes an experiment of using an existing hardware platform, the Reactable, to help designing the interaction between three different sound models and instrument interfaces. The aim was to test if prototyping could be facilitated by interacting with models of control actions derivedfrom performance gestures on an intermediate interface. The Reactable isa tangible table-top electronic musical instrument, and the software models include a DJ scratch interface, a virtual turntable, a physics-based sound model representing a bow-and-string interaction, and a physics-based friction sound model for sonification of the user gestures. The interaction was evaluated by two experts: one Reactable musician and one DJ. Their task was to practice expressive, musical performances. Data from the performers were collected through questionnaires and video recordings. The advantages of usinga single, versatile, hardware setup as a designer tool for various interface tasks are discussed. It is suggested how this hardware can be described as an alternative mapping layer.

  • 3.
    Hansen, Kjetil Falkenberg
    et al.
    KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID. KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Dimitrov, Smilen
    KTH, Skolan för datavetenskap och kommunikation (CSC), Tal, musik och hörsel, TMH, Musikakustik.
    Using the Reactable as experimental interface for instrument design prototypingInngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    This paper describes an experiment of using an existing hardware platform, the Reactable, to help designing the interaction between three different sound models and instrument interfaces. The aim was to test if prototyping could be facilitated by interacting with models of control actions derivedfrom performance gestures on an intermediate interface. The Reactable isa tangible table-top electronic musical instrument, and the software models include a DJ scratch interface, a virtual turntable, a physics-based sound model representing a bow-and-string interaction, and a physics-based friction sound model for sonification of the user gestures. The interaction was evaluated by two experts: one Reactable musician and one DJ. Their task was to practice expressive, musical performances. Data from the performers were collected through questionnaires and video recordings. The advantages of usinga single, versatile, hardware setup as a designer tool for various interface tasks are discussed. It is suggested how this hardware can be described as an alternative mapping layer.

  • 4.
    Kitzmann, Andreas
    et al.
    York University.
    Thorén, Claes
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Institutionen för informatik och media.
    The Modular Journey: Uncovering Analogue Aesthetics in Digital Landscapes2022Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 27, nr 1, s. 44-54Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article draws on a practice theory perspective to investigate instances of sound practice in a particular community of technology use by focusing on the community and product offerings in and around contemporary modular synthesisers and their growing popularity in the ‘Eurorack’ format in order to investigate the attraction and allure of analogue things in a digital age. This article identifies issues of authenticity, legitimacy and creativity as key drivers of the way we project our identities onto objects and the intimate technologies we own, and the search for meaningful technological encounters. In the realm of sound practice, the follow-up questions are similar: why when there is software and affordable digital alternatives, do some musicians swear by modular synthesis given the commitment this practice requires in terms of money, time, self-education and exploration (and for a lack of a better term) tinkering? With Eurorack as a case study, this article investigates the attraction and allure of analogue things in a digital age by investigating meaningful sound practice as emerging out of the discourses of online communities around the modular synth phenomenon.

    Fulltekst (pdf)
    fulltext
  • 5. Ljungdahl Eriksson, Martin
    et al.
    Atienza, Ricardo
    Konstfack, Institutionen för Konst (K).
    Pareto, Lena
    The Sound Bubble: A context-sensitive space in the space2017Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 22, nr 1, s. 130-139Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The design of sonic environments is in need of more active strategies, taking into account not only the physical but also the social and sensorial aspects of a place. This implies abandoning traditional, mono-disciplinary responses in favour of interdisciplinary methods and approaches. In this study we explored the possibility of inserting context-sensitive sound textures to improve the experience of an activity-based office workplace. For this purpose, we developed the concept of the ’sound bubble’ - a micro-space in which the user is embedded by a semi-transparent added sound environment that will operate as a subtle sound mask, attracting the attention without needing to hide the disturbing environment. This should help users (the workers) to stay in an ’everyday listening’ mode. This means, not focusing on the environment in particular but on their tasks, while preserving the link with the surrounding space and activities. 

  • 6.
    Ljungdahl Eriksson, Martin
    et al.
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    Atienza, Ricardo
    University College of Arts, Crafts and Design, Department of Fine Art, Stockholm, Sweden .
    Pareto, Lena
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    The Sound Bubble: A context-sensitive space in the space2017Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 22, nr 1, s. 130-139Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The design of sonic environments is in need of more active strategies, taking into account not only the physical but also the social and sensorial aspects of a place. This implies abandoning traditional, mono-disciplinary responses in favour of interdisciplinary methods and approaches. In this study we explored the possibility of inserting context-sensitive sound textures to improve the experience of an activity-based office workplace. For this purpose, we developed the concept of the ’sound bubble’ - a micro-space in which the user is embedded by a semi-transparent added sound environment that will operate as a subtle sound mask, attracting the attention without needing to hide the disturbing environment. This should help users (the workers) to stay in an ’everyday listening’ mode. This means, not focusing on the environment in particular but on their tasks, while preserving the link with the surrounding space and activities. 

  • 7.
    Mattias, Sköld
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Människocentrerad teknologi, Medieteknik och interaktionsdesign, MID. Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori.
    The Visual Representation of Timbre2022Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 27, nr 3, s. 387-400Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics. This is achieved by taking the starting point in Lasse Thoresen’s spectromorphological analysis. Symbols originally developed for perception-based analysis are adapted for use over a hybrid spectrum-staff system to indicate the spectral qualities of timbre. To test the system, it was used to transcribe excerpts of three classic electroacoustic music works. In addition to the benefit of being able to compare the three excerpts transcribed with the same system, there is the advantage that the visual representation is based on spectral measurable qualities in the music. The notation system’s intuitiveness was also explored in listening tests, showing that it was possible to understand spectral notation symbols placed over a staff system, particularly for examples with two sound objects instead of one.

  • 8.
    Petersson, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori.
    Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place2023Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 28, nr 2, s. 206-217Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article presents several scenarios in which a live coding environment called Paragraph was utilised to telematically play networked and geographically distributed hyperorgans. Situated within the framework of the Global Hyperorgan project, the TCP/Indeterminate Place Quartet have explored the affordances of the organ network through the concept of Tele-Copresence. By outsourcing certain dimensions of the parameter space of the Paragraph language to other members of the quartet, a shared instrumentality is enabled, where the organs are collaboratively controlled by means of this system. Rooted in a personal composer-performer practice and studied from the perspective of the live coder, the Paragraph system, adapted to the TCP/Indeterminate Place environment, can be understood as a modular system of human and non-human agents, into which the other musicians are patched. The distributed parameter space utilised, thus resembles a shared cantus firmus, a foundational, but dynamically changing, ecology for the live coder to play within.

  • 9.
    Petersson, Mattias
    Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, Musik, medier och teater. Royal College of Music, Stockholm, Sweden.
    Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place2023Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, Vol. 28, nr 2, s. 206-217Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article presents several scenarios in which a live coding environment called Paragraph was utilised to telematically play networked and geographically distributed hyperorgans. Situated within the framework of the Global Hyperorgan project, the TCP/Indeterminate Place Quartet have explored the affordances of the organ network through the concept of Tele-Copresence. By outsourcing certain dimensions of the parameter space of the Paragraph language to other members of the quartet, a shared instrumentality is enabled, where the organs are collaboratively controlled by means of this system. Rooted in a personal composer-performer practice and studied from the perspective of the live coder, the Paragraph system, adapted to the TCP/Indeterminate Place environment, can be understood as a modular system of human and non-human agents, into which the other musicians are patched. The distributed parameter space utilised, thus resembles a shared cantus firmus, a foundational, but dynamically changing, ecology for the live coder to play within.

    Fulltekst (pdf)
    fulltext
  • 10.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. KTH Royal Institute of Technology.
    The Visual Representation of Timbre2022Inngår i: Organised Sound, ISSN 1355-7718, E-ISSN 1469-8153, s. 1-14Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics. This is achieved by taking the starting point in Lasse Thoresen’s spectromorphological analysis. Symbols originally developed for perception-based analysis are adapted for use over a hybrid spectrum-staff system to indicate the spectral qualities of timbre. To test the system, it was used to transcribe excerpts of three classic electroacoustic music works. In addition to the benefit of being able to compare the three excerpts transcribed with the same system, there is the advantage that the visual representation is based on spectral measurable qualities in the music. The notation system’s intuitiveness was also explored in listening tests, showing that it was possible to understand spectral notation symbols placed over a staff system, particularly for examples with two sound objects instead of one.

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