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Unander-Scharin, CarlORCID iD iconorcid.org/0000-0002-2142-9493
Publications (10 of 17) Show all publications
Unander-Scharin, C. (2015). Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics. (Doctoral dissertation). Stockholm: KTH Royal Institute of Technology
Open this publication in new window or tab >>Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics
2015 (English)Doctoral thesis, comprehensive summary (Other academic)
Abstract [en]

How can we re-empower opera singers, extending their control over accompaniment and vocal expressivity? To answer this question, I have opened a novel design space, Extending Opera, consisting of interactive artist–operated tools to be used on-stage. The research has its methodological groundings in Research through Design (RtD) and Research through the Arts (RttA). This particular method is coined "research-throughthe- art-form-opera" – as I have worked within the realms and traditions of opera, probing its boundaries by designing, researching and creating through its own artistic toolbox.

Originally conceived for personal use, the artifacts were later used by other singers and incorporated in performances of opera in small and large scale. By composing and designing for the requirements in operatic productions, high demands on robustness were explored in and through custom-built interfaces.

The work resulted in ten novel artifacts and performances exploring the expressivity of these tools. Extending Opera is guided by and probed through three questions:

1. How can the design and creation of interactive, artist-operated instruments be informed by deep musical knowledge and be probed by the particular conditions surrounding an operatic production?

2. What impact can interactive, artist-operated instruments have on the opera singers themselves and on their vocal technique?

3. How can interactive, artist-operated instruments empower opera singers, thus challenging contemporary power hierarchies – thereby reconnecting to the explorative practice in opera's early days?

My knowledge contribution has surfaced through artistic practice and consists of the exemplars and the artworks, as well as three abstractions – one procedure, one requirement and one experiential quality.

Sensory Digital Intonation highlights how the fine-tuning of technologies and real-time interactivity is incorporated in a feed-back loop with artistic concerns and creativity.

Performative Stamina ("The Premiere-Factor") highlights how the traditional procedures leading up to a premiere in opera influence the demands on robustness and reliability within the components and the overall design of the novel artifacts.

Vocal Embodiment is an experiential quality that describes how the interactive artifacts change the singing itself.

In the conclusion, Artistic Re–Empowerment is discussed, proposing that power structures in opera have been probed through the use of the novel artist-operated interactive instruments.

Place, publisher, year, edition, pages
Stockholm: KTH Royal Institute of Technology, 2015. p. 136
Series
TRITA-CSC-A, ISSN 1653-5723 ; 2014:19
National Category
Media and Communication Technology
Research subject
Media Technology
Identifiers
urn:nbn:se:kth:diva-159001 (URN)978-91-7595-401-1 (ISBN)
Public defence
2015-01-29, F2, Lindstedtsvägen 26, KTH, Stockholm, 13:15 (English)
Opponent
Supervisors
Note

QC 20150119

Available from: 2015-01-19 Created: 2015-01-19 Last updated: 2018-01-11Bibliographically approved
Unander-Scharin, C., Unander-Scharin, Å., Höök, K. & Elblaus, L. (2014). Interacting with the Vocal Chorder: Re-empowering the Opera Diva. In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems: . Paper presented at CHI 2014, Apr 26 - May 01, Tronto, Canada.
Open this publication in new window or tab >>Interacting with the Vocal Chorder: Re-empowering the Opera Diva
2014 (English)In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2014Conference paper, Published paper (Refereed)
Abstract [en]

With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on, and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations on stage, and later tested by other singers. Through our designerly exploration, we arrived at a device that offered (1) a tool for singers to appropriate and take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.

Keywords
Opera, Autobiographical design, Interactive instruments, embodiment, empowerment, appropriation
National Category
Human Computer Interaction
Identifiers
urn:nbn:se:kth:diva-158992 (URN)10.1145/2559206.2574798 (DOI)2-s2.0-84900524482 (Scopus ID)
Conference
CHI 2014, Apr 26 - May 01, Tronto, Canada
Note

QC 20150119

Available from: 2015-01-19 Created: 2015-01-19 Last updated: 2018-01-11Bibliographically approved
Elblaus, L., Unander-Scharin, C. & Unander-Scharin, Å. (2014). Singing Interaction: Embodied Instruments for Musical Expression in Opera. Leonardo music journal, 24, 7-12
Open this publication in new window or tab >>Singing Interaction: Embodied Instruments for Musical Expression in Opera
2014 (English)In: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 24, p. 7-12Article in journal (Refereed) Published
Abstract [en]

In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performances, rooted in operatic praxis, allowing for heightened expressivity and emergent scenic subjects.

National Category
Human Computer Interaction Media and Communication Technology
Research subject
Media Technology; Human-computer Interaction; Computer Science
Identifiers
urn:nbn:se:kth:diva-158993 (URN)10.1162/LMJ_a_00187 (DOI)000347788700003 ()
Note

QC 20150119

Available from: 2015-01-19 Created: 2015-01-19 Last updated: 2018-05-04Bibliographically approved
Unander-Scharin, C., Unander-Scharin, Å. & Höök, K. (2014). The Vocal Chorder: Empowering opera singers with a large interactive instrument. In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems: . Paper presented at 32nd Annual ACM Conference on Human Factors in Computing Systems, CHI 2014; Toronto, ON; Canada; 26 April 2014 through 1 May 2014 (pp. 1001-1010). Association for Computing Machinery (ACM)
Open this publication in new window or tab >>The Vocal Chorder: Empowering opera singers with a large interactive instrument
2014 (English)In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, Association for Computing Machinery (ACM), 2014, p. 1001-1010Conference paper, Published paper (Refereed)
Abstract [en]

With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodilyoriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.

Place, publisher, year, edition, pages
Association for Computing Machinery (ACM), 2014
Keywords
Appropriation, Autobiographical design, Embodiment, Empowerment, Interactive instruments, Opera
National Category
Human Computer Interaction
Identifiers
urn:nbn:se:kth:diva-146694 (URN)10.1145/2556288.2557050 (DOI)2-s2.0-84900422227 (Scopus ID)978-145032473-1 (ISBN)
Conference
32nd Annual ACM Conference on Human Factors in Computing Systems, CHI 2014; Toronto, ON; Canada; 26 April 2014 through 1 May 2014
Note

QC 20140616. QC 20160226

Available from: 2014-06-16 Created: 2014-06-13 Last updated: 2018-01-11Bibliographically approved
Unander-Scharin, Å. & Unander-Scharin, C. (2013). Sensory Digital Intonation. In: the 3rd colloquium on artictic resarch in Performing arts: . Paper presented at CARPA 3, Helsinki 2013. Association for Computing Machinery (ACM)
Open this publication in new window or tab >>Sensory Digital Intonation
2013 (English)In: the 3rd colloquium on artictic resarch in Performing arts, Association for Computing Machinery (ACM), 2013Conference paper, Published paper (Refereed)
Abstract [en]

Sensory Digital Intonation. The impact of artistic intuition and experience when fine-tuning digital artefacts. Throughout the artistic practice of the authors and their collaborative works (eg Artificial Body Voices, Robocygne, The Lamentations of Orpheus, The Crystal Cabinet, Olimpia, The Pearlfishers and Ombra Mai Fu) the development phase that we now denominate Sensory Digital Intonation has evolved. In the proposed presentation at Carpa 3, we will elaborate on this and show examples of how this practice has been and is carried out.

Place, publisher, year, edition, pages
Association for Computing Machinery (ACM), 2013
Keywords
Appropriation, Autobiographical design, Embodiment, Empowerment, Interactive instruments, Opera
National Category
Human Computer Interaction
Identifiers
urn:nbn:se:kth:diva-158998 (URN)
Conference
CARPA 3, Helsinki 2013
Note

QC 20150119

Available from: 2015-01-19 Created: 2015-01-19 Last updated: 2018-01-11Bibliographically approved
Unander-Scharin, C., Höök, K. & Elblaus, L. (2013). The throat III: disforming operatic voices through a novel interactive instrument. In: Proceedings of CHI 2013 Extended Abstracts: . Paper presented at SIGCHI Conference on Human Factors in Computing Systems,27 April - 2 May, 2013, Paris, France (pp. 3007-3010). ACM Press
Open this publication in new window or tab >>The throat III: disforming operatic voices through a novel interactive instrument
2013 (English)In: Proceedings of CHI 2013 Extended Abstracts, ACM Press, 2013, p. 3007-3010Conference paper, Published paper (Refereed)
Abstract [en]

Practitioner-led artistic research, combined with interactive technologies, opens up new and unexplored design spaces. Here we focus on the creation of a tool for opera-singers to dynamically disform, change and accompany their voices. In an opera composed by one of the authors, the title-role singer needed to be able to alter his voice to express hawking, coughing, snuffling and other disturbing vocal qualities associated with the lead role Joseph Merrick, aka "The Elephant Man". In our designerly exploration, we were guided by artistic experiences from the opera tradition and affordances of the technology at hand. The resulting instrument, The Throat III, is a singer-operated artefact that embodies and extends particular notions of operatic singing techniques while at the same time creating accompaniment. It therefore becomes an emancipatory tool, putting a spotlight on some of the power hierarchies between singers, composers, conductors, and stage directors in the operatic world.

Place, publisher, year, edition, pages
ACM Press, 2013
National Category
Engineering and Technology
Research subject
SRA - ICT
Identifiers
urn:nbn:se:kth:diva-134716 (URN)10.1145/2468356.2479596 (DOI)978-1-4503-1952-2 (ISBN)
Conference
SIGCHI Conference on Human Factors in Computing Systems,27 April - 2 May, 2013, Paris, France
Note

Qc 20141117

Available from: 2013-11-28 Created: 2013-11-28 Last updated: 2015-12-02Bibliographically approved
Elblaus, L., Hansen, K. F. & Unander-Scharin, C. (2012). Artistically directed prototyping in development and in practice. Journal of New Music Research, 41(4), 377-387
Open this publication in new window or tab >>Artistically directed prototyping in development and in practice
2012 (English)In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 377-387Article in journal (Refereed) Published
Abstract [en]

The use of technology in artistic contexts presents interestingchallenges regarding the processes in which engineers, artists andperformers work together. The artistic intent and goals of the participantsare relevant both when shaping the development practice, and in definingand refining the role of technology in practice. In this paper wepresent strategies for structuring the development process, basedon iterative design and participatory design. The concepts are describedin theory and examples are given of how they have been successfullyapplied. The cases make heavy use of different types of prototypingand this practice is also discussed. The development cases all relateto a single artifact, a gestural voice processing instrument calledThe Throat. This artifact has been in use since it was developed,and from that experience, three cases are presented. The focus ofthese cases is on how artistic vision through practice can recontextualizetechnology, and, without rebuilding it, redefine it and give it anew role to play.

Place, publisher, year, edition, pages
Taylor & Francis Group, 2012
Keywords
Usability, Design
National Category
Computer Sciences Language Technology (Computational Linguistics)
Identifiers
urn:nbn:se:kth:diva-109390 (URN)10.1080/09298215.2012.738233 (DOI)000312443400008 ()2-s2.0-84871141307 (Scopus ID)
Note

QC 20130118. QC 20160115

Available from: 2013-01-02 Created: 2013-01-02 Last updated: 2018-05-04Bibliographically approved
Unander-Scharin, C. & Unander-Scharin, Å. (2012). Swanlake Revisited: An Interactive Exhibition. Stockholm: Dansmuseet
Open this publication in new window or tab >>Swanlake Revisited: An Interactive Exhibition
2012 (English)Other (Other (popular science, discussion, etc.)) [Artistic work]
Abstract [sv]

Under Oktober förvandlas Dansmuseets underjordiska rum till en mytopoetisk sjö där besökarens närvaro får märkliga svanvarelser att dyka upp och försvinna bland virtuella vågor. I Swanlake Revisited återbesöker vi den urgamla legenden om knölsvanen som lever sitt livi stumhet, men som vid dödsögonblicket en enda gång utbrister i oerhört vacker sång. 

Place, publisher, year, pages
Stockholm: Dansmuseet, 2012
National Category
Performing Arts
Identifiers
urn:nbn:se:kth:diva-65715 (URN)
Note
Qc 20120425Available from: 2012-04-25 Created: 2012-01-25 Last updated: 2015-01-20Bibliographically approved
Unander-Scharin, C. & Unander-Scharin, Å. (2011). Artificial Body Voices. Piteå Acusticum: Luleå tekniska universitet
Open this publication in new window or tab >>Artificial Body Voices
2011 (English)Other (Other (popular science, discussion, etc.)) [Artistic work]
Abstract [sv]

Artificial Body Voices, 25-27 november 2011 Studio Acusticum i Piteå

 

I Artificial Body Voices stiger publiken in i en mytopoetisk värld för att möta fantasieggande hybridvarelser, en dansande robotsvan, pulserande musik, underskön sång, en interaktiv röstmaskin och tretton dansare omslutna av videoanimationer som slingrande rör sig över väggar och golv. Vi vill inbjuda publiken till ett lekfullt experimentarium som undersöker människans längtan och drift att med teknologin omskapa, förändra och förlänga sina kroppsliga och röstliga förmågor.

Place, publisher, year, pages
Piteå Acusticum: Luleå tekniska universitet, 2011
National Category
Performing Arts
Identifiers
urn:nbn:se:kth:diva-65730 (URN)
Note
Koreografi och videodansare: Åsa Unander-Scharin Videodesign och rum: Lene Juhl och Mark Viktov (epí) Musik och remix: Carl Unander-Scharin och Klas B. Wahl Ljusdesign: Maria Ros Palmklint Dansare: Moa Autio, Lisa Hennix och robotsvanen Danselever från Svenska balettskolan i Piteå: Olivia Aldrin, Lovisa Axelsson, Sofi Berg, Amanda Eriksson, Moa Johansson, Julia Jonsson, Jazmine Murphy, Caroline Persson, Emma Pettersson, Julia Säthergren, Nicole Westerlund, Sång: Carl Unander-Scharin Kostym: Gerard Aroyan, Åsa Unander-Scharin Kjolsömnad: Inga-Lill Engström Eriksson Koreografiassistent på Svenska balettskolan: Liselott Berggren Scen- och ljudteknik: Oscar Lovnér Scen- och videoteknik: Tomas Lindén Robotsvanen är skapad av Åsa Unander-Scharin i samarbete med Mälardalen högskola Samproduktion mellan Scen- och sinnesproduktion, Dans i nord/danspoolen och Luleå tekniska universitet, med stöd av Konstnärsnämnden, Statens kulturråd, Kulturkontakt nord, Piteå kommun Föreställningen på Studio Acusticum spelas in av Frekvens Produktion AB för Sveriges Television. Artificial Body Voices har utvecklats i en serie workshops där projektets koreograf, musiker och videokonstnärer träffats i Stockholm, Köpenhamn och Piteå för att skapa och utbyta idéer och material. EPÍ arbetar med konstnärlig gestaltning av rörliga rum, med det igenkännbara, det abstrakta, det överraskande. I Artificial Body Voices används en remix av bodyparts där videoinspelningar av koreografen Åsa Unander-Scharins isolerade kroppsdelar i rörelse satts samman till nya lemmar och skapelser – med konstnärliga associationer till den pågående förändringen av kroppens funktionalitet genom genteknologier och implantat. Med digital bearbetning av videomaterialet utifrån principer kring kloning, delning, mutation, och genom att arbeta med många samtidiga bildlager skapas ett komplex av kroppsdelar, ett universum av nya kroppar, hybridskapelser och celldelningar, som knyter an både till framtidens teknologiska möjligheter och till tidigare fantasier kring människa/djur/maskin-varelser. Formspråket refererar till Salvador Dalis surrealistiska landskap och Francis Bacons abnorma kroppar. Bildernas rytmik och dynamik står i nära förhållande till musikens karaktär och stämning – från det mekaniska staccatot till det flytande pulserande. Koreografiskt remixade versioner av videoanimationernas kroppsdelar och rörelser återfinns på scen i Moa Autios och Lisa Hennix dans. Rummet är uppbyggt av flera samtidiga bildfält där projektionsskärmar och semitransparenta lager, tillsammans skapar ett tredimensionellt fragmenterat bildrum där dansarna vistas. Dansarna kan på så sätt ingå i bildrummet, försvinna i det, träda ut eller in i det. Videoprojektorerna är placerade så att dansarnas skuggor också ingår som en levande kroppslig aspekt i det samlade bilduniversum av perspektivförvridande konstellationer . I föreställningen medverkar också den dansande robotsvan som Åsa Unander-Scharin skapat i samarbete med professor Lars Asplund och på robotikavdelningen, Mälardalens högskola. När Robocygne visades första gången i oktober 2010, gav den upphov till nyhetsartiklar över hela världen (CNET, Singapore, Kanada, USA, Spanien, Tyskland) på grund av sin förmåga att väcka känslor. I Piteå dansar robotsvanen för första gången tillsammans med mänskliga dansare. Två scener framförs med specialutvecklade teknologier där dansare och sångare interaktivt i ögonblicket påverkar det musikaliska förloppet – som i sin tur fortplantar sig i dansarnas rörelse: Med ”The Throat” kan sångaren manipulera sin egen röst med en specialbyggd handske och nyskapande programvara. Genom olika gester med handen skapas egendomliga och vackra klanger som helt och hållet utgår från rösten själv. ”The Throat” är utvecklad av Carl Unander-Scharin i samarbete med Ludvig Elblaus i en projektsamverkan mellan KTH och Operahögskolan i Stockholm. I Artificial Body Voices används detta instrument för första gången offentligt. I “The Charged Room” är det dansarna rörelser som skapar rytmen och musiken. En kamera i taket avläser dansarnas rumsliga position så att de på olika ställen i det laddade rummet kan loopa och scratcha fram rytmer som samtidigt fortplantar sig i deras kroppar. “The Charged Room” är utvecklat av Åsa och Carl Unander-Scharin i samarbete med Mateusz Herzcka och Nenad Popov. Efter föreställningen bjuds publiken in på scenen för att själva pröva interaktiviteten i det laddade rummet. QC 20120213Available from: 2012-02-13 Created: 2012-01-25 Last updated: 2015-01-20Bibliographically approved
Unander-Scharin, C. & Unander-Scharin, Å. (2011). Excerpts from the artistic process of Artificial Body Voices. In: Annette Arlander (Ed.), Artistic Research in Action: Proceedings of Carpa 2 - colloquium on Artistic Research in performing arts. Paper presented at Carpa 2, Theatre Academy, Helsinki, 12th -15th January 2011 (pp. 95-112). Helsinki: Theatre Academy, Helsinki
Open this publication in new window or tab >>Excerpts from the artistic process of Artificial Body Voices
2011 (English)In: Artistic Research in Action: Proceedings of Carpa 2 - colloquium on Artistic Research in performing arts / [ed] Annette Arlander, Helsinki: Theatre Academy, Helsinki , 2011, p. 95-112Conference paper, Published paper (Refereed) [Artistic work]
Abstract [en]

Artificial Body Voices is a scenic complex that explores the human desire to transform our bodies and connect to technology. Through stimulation rather than simulation this project will invite the audience to an artistic experiment connecting choreography, robotics, music, electro acoustics, vocal art, video and computer animation. This complex of bodies and voices will be developed in a process divided into a series of workshops, where the contributors share and transform the artistic material into new formats and combinations. In between the workshops the team re-cycles the material by enfolding and unfolding the material through our bodies, voices and computers.

Place, publisher, year, edition, pages
Helsinki: Theatre Academy, Helsinki, 2011
Keywords
Opera Interaction Design Choreography Robotics Sensors Video art Blake Electronic Opera
National Category
Performing Arts
Identifiers
urn:nbn:se:kth:diva-65686 (URN)978-952-9765-62-1 (ISBN)
Conference
Carpa 2, Theatre Academy, Helsinki, 12th -15th January 2011
Note
Qc 20120203Available from: 2012-02-07 Created: 2012-01-25 Last updated: 2015-01-20Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-2142-9493

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