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  • 1.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Hansen, Kjetil Falkenberg
    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.
    Unander-Scharin, Carl
    university College of Opera, Sweden.
    Artistically directed prototyping in development and in practice2012In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 377-387Article in journal (Refereed)
    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.

  • 2.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH.
    Hansen, Kjetil Falkenberg
    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.
    Unander-Scharin, Carl
    University College of Opera, France .
    Exploring the design space: Prototyping "The Throat V3"for the elephant man opera2011In: Proceedings of the 8th Sound and Music Computing Conference, SMC 2011, Padova, Italy: Padova University Press , 2011, p. 141-147Conference paper (Refereed)
    Abstract [en]

    Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process.In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations.The focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called tacit knowledge could be activated and brought into the development process.

  • 3.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Carl
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Singing Interaction: Embodied Instruments for Musical Expression in Opera2014In: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 24, p. 7-12Article in journal (Refereed)
    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.

  • 4.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Carl
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Which Scenic Subjects may Emerge when Interacting With Machines Through Vocal and Bodily Virtuosity?2016In: Proceedings of CARPA4: Colloquium on Artistic Research in Performing Arts / [ed] Annette Arlander, Theatre Academy Helsinki , 2016Conference paper (Refereed)
  • 5.
    Elblaus, Ludvig
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Unander-Scharin, Carl
    New Scenic Subjects: Explorations of a System of Autonomous On-Stage Observers2016In: Proceedings of the 2016 CHI Conference Extended Abstracts on Human Factors in Computing Systems, 2016, p. 265-268Conference paper (Refereed)
  • 6.
    Eriksson, Sara
    et al.
    KTH, School of Electrical Engineering and Computer Science (EECS), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Luleå University of Technology.
    Trichon, Vincent
    KTH, School of Electrical Engineering and Computer Science (EECS), Media Technology and Interaction Design, MID.
    Unander-Scharin, Carl
    Karlstad University.
    Kjellström, Hedvig
    KTH, School of Electrical Engineering and Computer Science (EECS), Robotics, Perception and Learning, RPL.
    Höök, Kristina
    KTH, School of Electrical Engineering and Computer Science (EECS), Media Technology and Interaction Design, MID.
    Dancing with Drones: Crafting Novel Artistic Expressions through Intercorporeality2019In: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems, New York, NY USA, 2019, p. 617:1-617:12Conference paper (Refereed)
  • 7.
    Unander-Scharin, Carl
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. University College of Opera, Sweden.
    Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics2015Doctoral 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.

  • 8.
    Unander-Scharin, Carl
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    The Eternal Body of Man is the Imagination2011Other (Refereed)
    Abstract [sv]

    Inför den andra konserten i serien har Drottningholms Barockensemble med stöd av Statens Kulturråd inlett ett samarbete med tonsättaren Carl Unander Scharin som resulterat i stycket The Eternal Body of Man is the imagination – a time capsule, specialskrivet för ensemblens 40-årsjubileum.

     

    ”Det är en stor glädje att få komponera ett verk till mina vänner och kollegor i Drottningholms Barockensemble och deras förnämliga musikkonst” säger Carl Unander Scharin, som även kommer dirigera stycket vid uruppförandet i Engelbrektskyrkan.

     

    Inspirationen har Carl Unander Scharin hämtat från rymdsonden Voyager II som skickades ut ur Solsystemet på 1970-talet, innehållande ”The Golden Record” – en guldpläterad LP-skiva som ska kunna spelas av en eventuell avlägsen civilisation med den medföljande grammofonen.

     

    ”Mänskligheten har många gånger återvänt till tanken om en tidskapsel, drömmen om att kommunicera från en tid till en annan. På sätt och vis är varje bok, varje konstverk, varje artefakt en ’Time Capsule’. I verket The Eternal Body of Man is the imagination, vill jag med de gamla instrumenten kommunicera med nutiden, och därmed med framtiden. Verket är tänkt som en fanfar som famlar över tid och rum” berättar Carl Unander Scharin.

     

    Titeln kommer från en rad av poeten, mystikern och konstnären William Blake (1757-1827). Verket har tre delar, som följer tankebanan från jordeytan, via avfärden, till konstens luftiga rymd. Uppgiften att skriva  för barockensemble var en speciell utmaning för tonsättaren.

     

    ”De tidiga instrumenten kan sakna vissa möjligheter i tonregister och dynamisk bredd som deras moderna varianter har. Å andra sidan har de en ursprunglig och mer avskalad klang. För att till exempel få tillgång till ett större antal skaltoner för naturtrumpeterna, valde jag att skriva för en C-trumpet och för en D-trumpet" avslutar Carl Unander Scharin. 

  • 9.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Höök, Kristina
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Elblaus, Ludvig
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    The throat III: disforming operatic voices through a novel interactive instrument2013In: Proceedings of CHI 2013 Extended Abstracts, ACM Press, 2013, p. 3007-3010Conference 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.

  • 10.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Artificial Body Voices2011Other (Other (popular science, discussion, etc.))
    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.

  • 11.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Excerpts from the artistic process of Artificial Body Voices2011In: 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 (Refereed)
    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.

  • 12.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Ombra mai fù: The interactive Singing Tree2010Other (Refereed)
    Abstract [en]

    OMBRA MAI FÙ

    This sensual tree, built of copper, reacts on the closeness of the audience. When the audience approach, the tree performs the Largo by Handel with its trembling loudspeaker-leafs. In this aria, Xerxes gives voice to his love for a tree that allows him to seek refuge in its shadow.

     

     

  • 13.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Swanlake Revisited: An Interactive Exhibition2012Other (Other (popular science, discussion, etc.))
    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. 

  • 14.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Asplund, Lars
    Mälardalens Högskola .
    Robocygne: The Robotic Swan2010Other (Refereed)
    Abstract [en]

    This trembling black robot swan which sometimes moves smoothly and gently, sometimes in a dramatic and fiery manner to Tchaikovsky´s majestic music is inspired by Edgar Degas’ sculpture The little fourteen year old dancer (1881), and is made from wax, bobbinet and silk ribbon.  This birdlike body vibrates with electronic life and has the unattainable dream of dancing as prima ballerina on a grand stage.  The music is a re-modelling of Rothbart’s theme from the Swan lake where both the ocean and the orchestra have been caressed and yet at the same time smacked by music technology.

  • 15.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media.
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet.
    Handberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media.
    Opera Mecatronica: An interactive exhibition within artistic research2010Other (Other (popular science, discussion, etc.))
  • 16.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Höök, Kristina
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    The Vocal Chorder: Empowering opera singers with a large interactive instrument2014In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, Association for Computing Machinery (ACM), 2014, p. 1001-1010Conference 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.

  • 17.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Unander-Scharin, Åsa
    Höök, Kristina
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Elblaus, Ludvig
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Interacting with the Vocal Chorder: Re-empowering the Opera Diva2014In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2014Conference 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.

  • 18.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media (closed 20111231).
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Lundin, Magnus
    University of Borås.
    Olimpia: A giant electro mechanically choreographed marionette with new coloratura music.2010Other (Other (popular science, discussion, etc.))
    Abstract [en]

    OLIMPIA

    The puppet Olimpia’s virtuoso coloratura aria is performed by a giant electro mechanically choreographed marionette built from highly patinated scrap machine parts. The music is ‘coloratura’ in its original sense – coloured or embellished – and implies a re-colouring of Offenbach’s aria from “The tales of Hoffmann”. The choreography is both a response to Heinrich Kleist’s homage to the marionette (1810), ‘the most graceful of all dancers whose non self conscious movements simply obey the realm of purely mechanical forces’,  and yet at the same time it is a staging of an anorexic yearning for a body without skin, flesh or psyche.

     

    The marionette consists of nine body parts connected – via a string system – to 15 computer directed servo engines, attached to an aluminium frame in the ceiling. Marionette height 300 cm. Frame 240x240 cm2.

     

    Concept, choreography and movement programming: Åsa Unander-Scharin

    Puppet maker, electronics and software: Magnus Lundin

    Aria: Jaques Offenbach (from Les racontes d’Hoffmann, 1881)

    Singer: Jeanette Bjurling (recording: Lars-Göran Ehn)

    Music: Carl Unander-Scharin

    Light design: Anders Larsson

    Photo: Rune Ahlström

     

    First performance in the Reactor hall at The Royal Institute of Technology in Stockholm, 2010

     

    Produced by Scen- och Sinnesproduktion, financial support by Längmanska kulturfonden and the Swedish Arts Grants Committee

  • 19.
    Unander-Scharin, Carl
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Graphic Arts, Media.
    Unander-Scharin, Åsa
    Luleå Tekniska Universitet, Arts, communication and learning.
    Lundin, Magnus
    University of Borås.
    Olimpia: The choreographed electromechanic puppet, dancing to remixed and recomposed music2010Other (Other academic)
    Abstract [en]

    The puppet Olimpia’s virtuoso coloratura aria is performed by a giant electro mechanically choreographed marionette built from highly patinated scrap machine parts. The music is ‘coloratura’ in its original sense – coloured or embellished – and implies a re-colouring of Offenbach’s aria from “The tales of Hoffmann”. The choreography is both a response to Heinrich Kleist’s homage to the marionette (1810), ‘the most graceful of all dancers whose non self conscious movements simply obey the realm of purely mechanical forces’,  and yet at the same time it is a staging of an anorexic yearning for a body without skin, flesh or psyche. 

  • 20. Unander-Scharin, Åsa
    et al.
    Unander-Scharin, Carl
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Sensory Digital Intonation2013In: the 3rd colloquium on artictic resarch in Performing arts, Association for Computing Machinery (ACM), 2013Conference 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.

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