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Artistically directed prototyping in development and in practice
KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.ORCID iD: 0000-0002-2659-0411
KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics. (Sound and Music Computing)ORCID iD: 0000-0003-4259-484X
university College of Opera, Sweden.ORCID iD: 0000-0002-2142-9493
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. Vol. 41, no 4, p. 377-387
Keyword [en]
Usability, Design
National Category
Computer Sciences Language Technology (Computational Linguistics)
Identifiers
URN: urn:nbn:se:kth:diva-109390DOI: 10.1080/09298215.2012.738233ISI: 000312443400008Scopus ID: 2-s2.0-84871141307OAI: oai:DiVA.org:kth-109390DiVA, id: diva2:581717
Note

QC 20130118. QC 20160115

Available from: 2013-01-02 Created: 2013-01-02 Last updated: 2018-05-04Bibliographically approved
In thesis
1. Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics
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
2. Crafting New Interfaces for Musical Expression
Open this publication in new window or tab >>Crafting New Interfaces for Musical Expression
2015 (English)Licentiate thesis, comprehensive summary (Other academic)
Abstract [en]

This thesis collects and contextualizes several projects involving artistically directed prototyping where new artifacts have been developed, in multi-disciplinary groups of practitioners, for use in performance contexts. These projects and their resulting publications have been team efforts, and therefore all papers have more than one author. In the introduction, a complementary perspective to that of the publications is offered, engaging with the characteristics of the digital innards of these artifacts and their digital material qualities. The stance that software source code is a design material is argued, and the notion of the crafting coder is used to view processes that use code as material for artistic creation. Code is also prominently featured in the introductory chapter with examples of some of the central components of the sound processing techniques that have been successfully used in the projects described in this thesis.

The artifacts that are described in the thesis are: The Throat, an instrument for augmenting the singing voice using gestural control in real-time, The Vocal Chorder, a string based instrument using full-body interaction that also allows for audience participation through an installation mode, The Charged Room, a video tracking installation that lets users manipulate sound by moving across a stage, and Nebula, a garment that senses the users movements and responds with sound. These artifacts have been evaluated in the context they are designed for, and not only tested in laboratory settings, to make sure that the knowledge produced is valid. Several performances and peda-gogical courses have been used as empirical foundation for the claims of empowerment, expressivity, and performance qualities ascribed to the developed artifacts.

 

Place, publisher, year, edition, pages
Stockholm: KTH Royal Institute of Technology, 2015. p. xi, 43
Series
TRITA-CSC-A, ISSN 1653-5723 ; 2015:19
National Category
Media Engineering
Research subject
Media Technology
Identifiers
urn:nbn:se:kth:diva-176888 (URN)978-91-7595-784-5 (ISBN)
Presentation
2015-12-14, Fantum, Lindstedtsvägen 24, plan 5, KTH, Stockholm, 10:00 (English)
Opponent
Supervisors
Note

QC 20151202

Available from: 2015-12-02 Created: 2015-11-11 Last updated: 2015-12-03Bibliographically approved
3. Crafting Experience: Designing Digital Musical Instruments for Long-Term Use in Artistic Practice
Open this publication in new window or tab >>Crafting Experience: Designing Digital Musical Instruments for Long-Term Use in Artistic Practice
2018 (English)Doctoral thesis, comprehensive summary (Other academic)
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.

Place, publisher, year, edition, pages
KTH Royal Institute of Technology, 2018. p. 82
Series
TRITA-EECS-AVL
Research subject
Media Technology
Identifiers
urn:nbn:se:kth:diva-227247 (URN)978-91-7729-761-1 (ISBN)
Public defence
2018-05-25, F3, KTH-Campus, Lindstedtsvägen 26, Stockholm, 14:00 (English)
Opponent
Supervisors
Note

QC 20180507

Available from: 2018-05-07 Created: 2018-05-04 Last updated: 2018-05-07Bibliographically approved

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Elblaus, LudvigHansen, Kjetil FalkenbergUnander-Scharin, Carl

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