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Uncanny Materialities: Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads
KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID.ORCID-id: 0000-0002-2659-0411
2017 (engelsk)Inngår i: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 27, s. 62-66Artikkel i tidsskrift (Fagfellevurdert) Published
Abstract [en]

In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.

sted, utgiver, år, opplag, sider
MIT Press, 2017. Vol. 27, s. 62-66
HSV kategori
Identifikatorer
URN: urn:nbn:se:kth:diva-220476DOI: 10.1162/LMJ_a_01020ISI: 000416826400023Scopus ID: 2-s2.0-85037632721OAI: oai:DiVA.org:kth-220476DiVA, id: diva2:1168573
Merknad

QC 20171221

Tilgjengelig fra: 2017-12-21 Laget: 2017-12-21 Sist oppdatert: 2018-05-04bibliografisk kontrollert
Inngår i avhandling
1. Crafting Experience: Designing Digital Musical Instruments for Long-Term Use in Artistic Practice
Åpne denne publikasjonen i ny fane eller vindu >>Crafting Experience: Designing Digital Musical Instruments for Long-Term Use in Artistic Practice
2018 (engelsk)Doktoravhandling, med artikler (Annet vitenskapelig)
Abstract [en]

This thesis collects a series of publications that all present work where digital musical instruments (DMIs) played a central role. While the papers focus on the individual projects where the DMIs where created, the first part of this thesis describes patterns and insights arrived at by comparing the projects and the DMIs, as well as discuss them in the context of other contemporary research.

The projects described in the included papers all are quite different, but the role I performed in them was consistent in many ways. I position my- self as a craftsperson, and trace the practice of crafting digital musical instru- ments through the projects. As a working metaphor, I present the idea of the DMI-craftsperson as a translator between different domains. This requires a broader outlook than the mechanics of the instruments themselves, including some working understanding of the domains that the DMI interacts with.

The relationship between DMIs and contemporary musical practice is a thread that runs through the work. I criticise the practice of exclusively performing laboratory based evaluations, and the concept of rigid and requirements based evaluations of artistic artefacts. Instead, I argue, relying on Sonic Interaction Design and embodied aesthetics, that the complexities and nuances of perfor- mance can only be fully explored by engaging in long-term artistic practice.

sted, utgiver, år, opplag, sider
KTH Royal Institute of Technology, 2018. s. 82
Serie
TRITA-EECS-AVL
Forskningsprogram
Medieteknik
Identifikatorer
urn:nbn:se:kth:diva-227247 (URN)978-91-7729-761-1 (ISBN)
Disputas
2018-05-25, F3, KTH-Campus, Lindstedtsvägen 26, Stockholm, 14:00 (engelsk)
Opponent
Veileder
Merknad

QC 20180507

Tilgjengelig fra: 2018-05-07 Laget: 2018-05-04 Sist oppdatert: 2018-05-07bibliografisk kontrollert

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