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  • 1.
    Einarsson, Anna
    et al.
    Royal Coll Mus Stockholm, Sweden.
    Ziemke, Tom
    Linköping University, Department of Computer and Information Science, Human-Centered systems. Linköping University, Faculty of Science & Engineering. University of Skovde, Sweden.
    Exploring the Multi-Layered Affordances of Composing and Performing Interactive Music with Responsive Technologies2017In: Frontiers in Psychology, E-ISSN 1664-1078, Vol. 8, article id 1701Article in journal (Refereed)
    Abstract [en]

    The question motivating the work presented here, starting from a view of music as embodied and situated activity, is how can we account for the complexity of interactive music performance situations. These are situations in which human performers interact with responsive technologies, such as sensor-driven technology or sound synthesis affected by analysis of the performed sound signal. This requires investigating in detail the underlying mechanisms, but also providing a more holistic approach that does not lose track of the complex whole constituted by the interactions and relationships of composers, performers, audience, technologies, etc. The concept of affordances has frequently been invoked in musical research, which has seen a "bodily turn" in recent years, similar to the development of the embodied cognition approach in the cognitive sciences. We therefore begin by broadly delineating its usage in the cognitive sciences in general, and in music research in particular. We argue that what is still missing in the discourse on musical affordances is an encompassing theoretical framework incorporating the sociocultural dimensions that are fundamental to the situatedness and embodiment of interactive music performance and composition. We further argue that the cultural affordances framework, proposed by Rietveld and Kiverstein (2014) and recently articulated further by Ramstead et al. (2016) in this journal, although not previously applied to music, constitutes a promising starting point. It captures and elucidates this complex web of relationships in terms of shared landscapes and individual fields of affordances. We illustrate this with examples foremost from the first authors artistic work as composer and performer of interactive music. This sheds new light on musical composition as a process of construction-and embodied mental simulation-of situations, guiding the performers and audiences attention in shifting fields of affordances. More generally, we believe that the theoretical perspectives and concrete examples discussed in this paper help to elucidate how situations-and with them affordances-are dynamically constructed through the interactions of various mechanisms as people engage in embodied and situated activity.

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  • 2. Eklund, Robert
    På barockmusikkurs i Trondheim, sommaren 19851986In: Tidskrift för Tidig Musik, ISSN 0280-6177, Vol. 1, p. 23-24Article in journal (Other (popular science, discussion, etc.))
  • 3.
    Garnemark, Rosario
    Linköping University, Department of Culture and Communication, Modern Languages. Linköping University, Faculty of Arts and Sciences.
    Ingmar Bergman y la censura cinematográfica franquista: Reescrituras ideológicas (1960-1967)2015Book (Other academic)
    Abstract [es]

    En la década de los 60 se produjo en la España franquista un intento de apertura y modernización del sector fílmico que contribuyó a que se importaran al sistema cultural español repertorios extranjeros novedosos como el del realizador sueco Ingmar Bergman. Uno de los objetivos de este volumen es ilustrar cómo la censura estatal franquista utilizó la traducción como herramienta de manipulación ideológica en la importación de Bergman durante el período mencionado. Además de estudiar algunos doblajes aprobados por la censura, también se analizan los expedientes oficiales de censura y diversas reseñas cinematográficas, que revelan cuáles fueron los parámetros ideológicos que aplicó el sector cultural español para reinterpretar la obra de Bergman. Ello lleva a desvelar el crucial papel que desempeñaron personalidades como José Mª García Escudero, Carlos Fernández Cuenca o Carlos Mª Staehlin. Mediante la confrontación de las interpretaciones franquistas con otro tipo de lecturas generadas fuera del sistema cultural franquista se pone de manifiesto, además, que las tendenciosas explicaciones franquistas no siempre hicieron justicia a la ambigüedad mostrada por el realizador sueco. En un primer momento se manipuló sobre todo su visión de Dios y de la religión, obviando aspectos centrales de su obra como la reflexión sobre la figura del artista. Más adelante, los esfuerzos de una parte del sector cultural franquista se centraron en hacerle pasar por un realizador eminentemente moralista, desvirtuando su visión del erotismo, de la violencia o del papel de la mujer en la sociedad. A pesar de que la crítica especializada y cinéfila que se interesó por Bergman en aquellos años cuestionó en numerosas ocasiones las interpretaciones oficialistas y la actuación de la censura, las películas llegaron al público enormemente desvirtuadas por los cortes impuestos y por unos doblajes ideológicamente adulterados, algunos de los cuales circulan todavía en DVDs comerciales en la actualidad.

    La disciplina académica conocida como Estudios de Traducción experimenta durante los años 90 un giro hacia enfoques centrados en la cultura como motor de la traducción y se aparta de las explicaciones meramente lingüísticas, abriéndose así a nuevos métodos para abordar el estudio del proceso traductor. Estos enfoques destacan la importancia de las condiciones históricas y culturales en las que se producen las traducciones, prestando especial atención al potencial manipulador de éstas y a las relaciones de poder que las determinan y generan. En este contexto se enmarca el presente volumen, que aborda la recepción y censura de la filmografía de Ingmar Bergman en España entre los años 1960 y 1967.

  • 4.
    Grahn, Margaretha
    Linköping University, Department of Arts, Craft and Design. Linköping University, Faculty of Educational Sciences.
    Das Lehramtsstudium an der Universität Linköping, Schweden2008In: Das Kind im Blick: Eine gemeinsame Ausbildung für den Elementareberich und die Grundschule. Band 6 / [ed] Ursula Carle, Barbara Daiber, Schneider Verlag Hohengehren GmbH, 2008, p. 84-90Chapter in book (Refereed)
    Abstract [de]

    Schweden nimmt mit der 3,5-jährigen gemeinsamen universitäten Ausbildung fur Kindergarten und Grundschule eine Vorreiterrolle ein. Die gemeinsame Berufsbezeichnung ist Lehrer (lärare). Sie arbeiten in Kindertageseinrichtungen für Kinder im Alter von 1 bis 5 Jahren (Vorschule), in Vorschulklassen für Sechsjährige an der Grundschule sowie in den ersten vier Schuljahren und der Schulkinderbetreuung. Im Jahre 2004 begannen die ersten Studienabgänger ihre Arbeit im Vorschulbereich und der Schule. An den unterschiedlichen Universitäten gibt es leicht unterschiedliche Ausrichtungen des Studiums. Der im folgenden Beitrag vorgestellte Studiengang an der Universität Linköping gibt einen exemplarischen Einblick in das studienangebot der gemeinsamen Ausbildung in Schweden.

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  • 5.
    Grahn, Margaretha
    et al.
    Linköping University, University Library.
    Öfverström, Christel
    Linköping University, Department of Culture and Communication. Linköping University, Faculty of Educational Sciences.
    Leadership Challenges in Music Education2009In: Problems in music pedagogy, ISSN 1691-2721, Vol. 5, p. 73-86Article in journal (Refereed)
    Abstract [en]

    This is an article about leadership in general, classroom leadership and leadership challenges in music education. The method that we have used is literature studies. One classical question is if leadership comes naturally or if it can be learned? Many authors mean that it is both. Lahdenpäre (2008) says that leadership is a social construction. It is not a quality in a person but how we can relate to other people. We have used ”The Leadership Diamond” by Koestenbaum (1991) that consists of four levels (professional, social, psychological and philosophical) and on every level there are four strategies (vision, reality, ethics and courage). One of the great issues in leadership is the balance between chaos and order, structure and creativity, planning and spontaneity. Denhardt & Denhardt (2008) compare being a leader with dancers and musicians and emphasize the importance of having theoretical knowledge connected with practise and the ability of improvisation. Another important aspect is what we call ”time to muse”, that is the time to reflect. A study from 1994 showed that teachers focus on the content but less on the students´ perspectives in the learning process. We have compared our model of the three feet that every school subject stands on (theoretical, skills and artistic) with necessary qualities in classroom leadership and we wish that the artistic feet will have more attention in the future.

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    Leadership Challenges in Music Education
  • 6.
    Grandin, Ingemar
    Linköping University, Department for Studies of Social Change and Culture, Culture, Society, Media Production. Linköping University, Faculty of Arts and Sciences.
    Between the market and Comrade Mao: Newar cultural activism and ethnic/political movements2012Conference paper (Other academic)
    Abstract [en]

    The Newars are prominent in the ethnic and indigenous (janajati/adivasi) movement in Nepal. With their heartland in the country's capital area, the Kathmandu Valley, their position is contradictory: they are part of the economic, political and cultural elite yet dominated in numerous ways. Still in the 1940s, people went to jail for publishing literary works in Newari, and the Newar struggle for recognition, identity, and cultural survival - often linked with leftist, political movements - has taken many forms since then. Cultural activism is prominent among these forms.

    This contribution studies Newar cultural activism as an artistic, aesthetic practice. This practice includes songs, cultural programs, music, dance, theatre, but also media artifacts such as cassettes, cds, video-cds, and recordings and "visualizations" for broadcasting purposes. Not only song texts, but also such things as musical resources and non-verbal statements in dress and dance are meaningful here and important to analyze.

    The contribution builds upon ethnographic research from the mid 1980s and into the present day. This period has seen a transformation in political terms from absolutism to democratic republicanism with Maoism as perhaps the most important base for political ideology. But equally important, economic transformations have come to challenge the very roots of the traditional agro-urban civilization of the Newar heartland. In this light, cultural activism is one way to negotiate a position for the Newars and their heritage between the economic forces of the market and the ideological offensive of Comrade Mao's followers.

  • 7.
    Lahall, Michael
    Linköping University, Department of Culture and Communication. Linköping University, Faculty of Arts and Sciences.
    Bedömningsprocessen i musik: Hur går lärare tillväga för att bedöma och betygssätta elever i ämnet musik?2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Studiens syfte är att se i vilka situationer elevernas kunskaper i musik visas och hur detta dokumenteras av lärarna. I sin helhet omfattar studien bedömningsprocessen, det vill säga från början av lärarens planering fram till att betyget blir satt. Datainsamlingsmetoden är en kvalitativ intervju som liknar ett vanligt samtal men skiljer sig på grund av att samtalet har ett bestämt fokus (Dimenäs 2007). Urvalet består av sex stycken musiklärare som arbetar i årskurserna 6-9 på grundskolan. Respondenterna är från två olika kommuner i Mellansverige.

    Resultatet visar bland annat att eleverna år 6-9 får visa sina kunskaper i mindre grupper, enskilt för läraren, genom teoretiska prov och i slutet av ett arbetsområde. Lärarna i sin tur dokumenterar deras kunskaper genom att exempelvis göra små anteckningar i betygsmatriser och i anteckningsböcker. Elevernas kunskaper finns även i minnet hos lärarna genom att de bara iakttar eleverna på lektionerna. Det är ingen av lärarna som filmar sina elever i dokumentationssyfte även om inspelningar är vanligt.

    En förutsättning för en likvärdig och rättsäker bedömning är dels att göra regelbundna kunskapskontroller, men det kanske viktigaste är att läraren redan i början av planeringen förbereder tillfällen för eleverna att visa sina kunskaper och att bedömningen därtill sker utifrån kunskapskraven (Skolverket 2011). Lärarna uttrycker att bedömningen är både svår och tidskrävande när elevgrupperna är stora. Komplexiteten över det teoretiska och praktiska i bedömningen samt brist på undervisningstid är också en av orsakerna till svårigheterna. 

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  • 8.
    Larson Lindal, Johan
    Linköping University, Department of Culture and Society, Division of Culture, Society, Design and Media. Linköping University, Faculty of Arts and Sciences.
    The Movement of a Musical Work: Ernst Krenek’s Opus 20 in the Interwar Years2024Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation studies how one ‘modern’ piece of music from the early 20th century became conceptualised as an idealised musical work: the Third String Quartet, opus 20 (op. 20) by Austrian composer Ernst Krenek (1900–1991). The idealistic musical work concept holds that any piece of music has an eternal, non-spatiotemporal existence and that it is the product of an identifiable creator’s work. While this concept has been studied critically, there are too few historical studies on its everyday practices. Drawing on nominalist music philosophy of for instance Lydia Goehr as well as the sociological perspective Actor-Network Theory (ant), op. 20 is studied as an historical actor or actant participating in events and associations of actors and objects, forming a broader movement which constitutes its historical conceptualisation as a musical work. In this movement, aspects of ephemerality, fixity, concreteness, and abstraction are explored and discussed. Together with ant, micro-history is used to explore op. 20’s history and its many gaps. Beginning with Krenek’s composition process in 1922–1923 within the ‘New Music’ networks, then ending with the piece’s reappearance in American exile in 1940, the study identifies three main mechanisms for conceptualising op. 20 as a work. These were the agency of the piece itself in influencing its co-actants, the degrees and repertoires of fixity which helped stabilising it, and its affinity with certain associations and actants such as Paul Hindemith, Universal-Edition, and Ernst Krenek. Having experienced a highly acclaimed premiere in 1923, publication in 1924, recording in 1925, and international performances by various ensembles during the 1920s, op. 20 nearly disappeared from musical life between 1929 and 1937, although it remained as a fixed yet abstract work in musical literature. With New Music associations in Europe scattered following the rise of Nazi Germany, op. 20’s subsequent ‘exile’ reappearances as concrete-ephemeral performances in Switzerland and the u.s. testified to the interplay of agency, fixity, and affinity in the work’s interwar movement.

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  • 9.
    Lejon, Kjell O.
    Linköping University, Department of Culture and Communication, Culture and Aesthetics. Linköping University, Faculty of Arts and Sciences.
    Din klara sol går åter upp: Musik, teologi och paradislängtan2019In: Musik och teologi / [ed] Kjell O. Lejon, Uppsala: EFS , 2019, p. 15-22Chapter in book (Other academic)
  • 10.
    Lejon, Kjell O.
    Linköping University, Department of Culture and Communication, Culture and Aesthetics. Linköping University, Faculty of Arts and Sciences.
    Inledning2019In: Musik och teologi / [ed] Kjell O. Lejon, Uppsala: EFS , 2019, p. 7-11Chapter in book (Other academic)
  • 11.
    Lejon, Kjell O.
    Linköping University, Department of Culture and Communication, Culture and Aesthetics. Linköping University, Faculty of Arts and Sciences.
    Musik & teologi2019Collection (editor) (Other academic)
    Abstract [sv]

    Boken är en antologi med bidrag av en rad författarefrån olika discipliner och yrkesområdensom alla belyser temat musik och teologi utifrån olika utgångspunkter. Några artiklar är översikter, till exempel om Augustinus, om sång och musik i Gamla och Nya testamentet; några är historiska, till exempel vad vi kan lära av Bach, Luther och Rosenius; några är reflekterande utifrån musikerperspektiv, till exempel om musik för olika generationer. I en avslutande del ställs trefrågor till fyra personer om gudstjänst och musik medanknytning till Svenska kyrkans nya handbok.

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  • 12.
    Niklas, Rönnberg
    et al.
    Linköping University, Department of Science and Technology, Media and Information Technology. Linköping University, Faculty of Science & Engineering.
    Löwgren, Jonas
    Linköping University, Department of Science and Technology, Media and Information Technology. Linköping University, Faculty of Science & Engineering.
    Photone: Exploring modal synergy in photographic images and music2018In: International Conference on Auditory Display, 2018 [30], Georgia Institute of Technology , 2018, p. 73-79Conference paper (Refereed)
    Abstract [en]

    We present Photone, an interactive installation combining photographic images and musical sonification. An image is displayed, and a dynamic musical score is generated based on the overall color properties of the image and the color value of the pixel under the cursor. Hence, the music changes as the user moves the cursor. This simple approach turns out to have interesting experiential qualities in use. The composition of images and music invites the user to explore the combination of hues and textures, and musical sounds. We characterize the resulting experience in Photone as one of modal synergy where visual and auditory output combine holistically with the chosen interaction technique. This tentative finding is potentially relevant to further research in auditory displays and multimodal interaction.

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    Photone: Exploring modal synergy in photographic images and music
  • 13.
    Nylander, Erik
    Linköping University, Department of Behavioural Sciences and Learning, Education and Adult Learning. Linköping University, Faculty of Educational Sciences.
    The rites of jazz institutions: Uncertainty and valuation in music auditions2014In: American Journal of Cultural Sociology, ISSN 2049-7113, E-ISSN 2049-7121, Vol. 2, no 2, p. 266-276Article in journal (Refereed)
    Abstract [en]

    As part of the reception to the article ‘Mastering the jazz standard: Sayings and Doings of Artistic Valuation’, American Journal of Cultural Sociology invited two scholars to comment and critically scrutinize this work. Before venturing into a response to some of the many issues raised in their highly spirited remarks, I would like to thank Antoine Hennion and Lisa McCormick for engaging in this discussion and taking time to reflect and comment on my article.

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  • 14.
    Rönnberg, Niklas
    Linköping University, Department of Science and Technology, Media and Information Technology. Linköping University, Faculty of Science & Engineering.
    Sonification for Conveying Data and Emotion2021In: AM '21: Audio Mostly 2021, 2021, p. 56-63Conference paper (Refereed)
    Abstract [en]

    In the present study a sonification of running data was evaluated. The aim of the sonification was to both convey information about the data and convey a specific emotion. The sonification was evaluated in three parts, firstly as an auditory graph, secondly together with additional text information, and thirdly together with an animated visualization, with a total of 150 responses. The results suggest that the sonification could convey an emotion similar to that intended, but at the cost of less good representation of the data. The addition of visual information supported understanding of the sonification, and the auditory representation of data. The results thus suggest that it is possible to design sonification that is perceived as both interesting and fun, and convey an emotional impression, but that there may be a trade off between musical experience and clarity in sonification.

  • 15.
    Rönnberg, Niklas
    et al.
    Linköping University, Department of Science and Technology, Media and Information Technology. Linköping University, Faculty of Science & Engineering.
    Löwgren, Jonas
    Linköping University, Department of Science and Technology, Media and Information Technology. Linköping University, Faculty of Science & Engineering.
    The Sound Challenge to Visualization Design Research2016In: Proceedings of EmoVis 2016, ACM IUI 2016 Workshop on Emotion and Visualization, Sonoma, CA, USA, March 10, 2016 / [ed] Andreas Kerren, Daniel Cernea, Margit Pohl, Linköping: Linköping University Electronic Press, 2016, p. 31-34Conference paper (Refereed)
    Abstract [en]

    This paper is an introduction to the emotional qualities of sound and music, and we suggest that the visual and the aural modalities should be combined in the design of visualizations involving emotional expressions. We therefore propose that visualization design should incorporate sonic interaction design drawing on musicology, cognitive neuroscience of music, and psychology of music, and identify what we see as key research challenges for such an approach.

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  • 16.
    Saarikallio, Suvi
    et al.
    University of Jyvaskyla, Finland.
    Baltazar, Margarida
    University of Jyvaskyla, Finland.
    Västfjäll, Daniel
    Linköping University, Department of Behavioural Sciences and Learning, Psychology. Linköping University, Faculty of Arts and Sciences.
    Adolescents musical relaxation: understanding related affective processing2017In: Nordisk tidskrift for musikkterapi - Nordic Journal of Music Therapy, ISSN 0809-8131, E-ISSN 1944-8260, Vol. 26, no 4, p. 376-389Article in journal (Refereed)
    Abstract [en]

    Music listening promotes adolescents well-being and relaxation in daily life. Relaxation is linked to affective self-regulation, but little is known about the specific affective processes of musical relaxation. The current study aimed to elaborate the affective dimension of adolescents musical relaxation, through detailed exploration of the related affect regulation goals, strategies, and induction mechanisms. A qualitative study with 55 adolescents (42 girls, 13 boys), aged 15, was conducted. Participants listened to self-selected relaxation music for 20min, once in a laboratory and once at home, and provided written descriptions of their experience. A total of 110 episode descriptions were analyzed using summative, directed, content analysis for identifying typical patterns and interactions between the underlying concepts. Three major strategies (processing, distraction, induction) and two mechanisms (musical and mental) were identified. Processing was supported by both mechanisms, while distraction and induction predominantly by the musical mechanism. Change from negative to positive mood was particularly realized through musical distraction, while pure positive emotion induction was equally supported by all strategies and mechanisms. The analysis revealed clear patterns of how affect regulation strategies and induction mechanisms interrelate and serve different outcomes as part of adolescents relaxation. The findings provide conceptual clarification and theoretical grounds for understanding how affective processes function in musical relaxation. The discussion is performed in light of prior research and broader understanding of music as part of adolescents affective processing and self-regulation.

  • 17.
    Smolicki, Jacek
    Linköping University, Department of Culture and Society, Division of Language, Culture and Interaction. Linköping University, Faculty of Medicine and Health Sciences.
    Composing, recomposing and decomposing with soundscapes2023In: Soundwalking: Through Time, Space, and Technologies / [ed] Jacek Smolicki, Abingdon, UK: Routledge, 2023, 1, p. 181-199Chapter in book (Refereed)
    Abstract [en]

    This chapter suggests that soundwalking, a seemingly trivial combination of walking and listening, is a complex activity that always comprises and entails some form of composition, recomposition and decomposition. Building on the term soundwalk compositon  I suggest that when soundwalking, we are traversing to some degree already composed territories and soundscapes. Moreover, in order to unfold and be conducive to certain experiences, those territories (and our mobility within them) neccesitate decomposition of other environmental, geological and cultural realms and, consequently, their soundscapes. In the proposed, expanded and critically revised approach to soundwalking, what we walk through and listen is not merely the here and now, but a much wider spatio-temporal territory that spans the past (even deep, geological time) and extends into the unknown future(s). Combining diverse technological and conceptual modes of field recording, mediating and broadcasting precomposed material and sounds from the immediate vicinity, soundwalking compositions presented in this chapter bring attention to particular locations: Vancouver's intertidal zones and Swedish most and least polluted lakes. While opening up to imperceptible aspects of those geographies, these pieces are simultaneously and, perhaps above all, exercises in (re-)composing one's ethical position within a mesh of scales, agencies and temporalities that constitute each and every site. The chapter concludes with a series of propositions for how to engage in critical, careful and caring forms of composing with soundscapes. 

  • 18.
    Smolicki, Jacek
    Linköping University, Department of Culture and Society, Division of Language, Culture and Interaction. Linköping University, Faculty of Medicine and Health Sciences.
    Pejzaż Dźwiękowy jako Granica. O Akustycznych Barierach, Teatrze dla Zwierząt i Simonie Kossak: (eng. Soundscape as a Border. On Acoustic Barriers, Theatre for Animals, and Simona Kossak)2022In: GlissandoArticle in journal (Other academic)
    Abstract [pl]

    Gdzie leżą granice między tym co ludzkie a światem zwierzęcym? Jaką rolę odgrywa w tym kontekście dźwięk i skomponowany pejzaż dźwiękowy? Czym jest pejzaż dźwiękowy jako forma stworzona z myślą o zwierzęciu jako odbiorcy? W tym eseju punktem wyjścia do próby zaadresowania powyższych pytań jest urządzenie o tajemniczo brzmiącej nazwie UOZ1, czyli Urządzenie Ochrony Zwierząt. Jest to system głośników rozmieszczanych wzdłuż torów kolejowych w celu generowania bariery dźwiękowej odstraszającej zwierzęta leśne. Chroniąc je przed kolizją z nadjeżdżającym pociągiem, ten graniczny pejzaż dźwiękowy jednocześnie zabezpiecza infrastrukturę i interes człowieka. Dźwięk staje się medium jednocześnie uwypuklającym granice między światem ludzkim i zwierzęcym, jak i je rozmywającym. Projekt jest również powodem do dyskusji na temat działalności zmarłej 14 lat temu profesor Simony Kossak. To jej badania i lata spędzone w Puszczy Białowieskiej, gdzie poświęciła się pracy nad zrozumieniem psychologii dzikich zwierząt, przyczyniły się do opracowania tzw. „atrapy bodźców kluczowych”, czyli sekwencji alarmująco-informacyjnych sygnałów dźwiękowych inspirowanych naturą i wykorzystanych w UOZ1. Ten wątek działalności prof. Kossak pozwala nam uznać jej pracę jako nie tylko pionierską w dziedzinie akustyki ekologicznej w tej części świata, ale również sugeruje konieczność przemyślenia koncepcji pejzażu dźwiękowego w kontekście rosnącej potrzeby kontestacji idei granicy między kulturą człowieka a naturą.

  • 19.
    Törneman, Mira Stolpe
    University of Linköping.
    Imaginary media: Alexander Scriabin’s Mysterium2018In: Artnodes, E-ISSN 1695-5951, no 21Article in journal (Refereed)
    Abstract [en]

    This essay focuses on the unrealised compositional work Mysterium by Russian composer Alexander Scriabin (1871-1915) as an example of an imaginary medium. It is demonstrated how the creation of Mysterium was dependent on discursive practices of the time, on the media landscape of 1900 as defined by Kittler, and on a particular development of the local sphere as conceptualised by Peter Sloterdijk. Furthermore, it reveals some ways in which Mysterium interacts with realised and imaginary media of its own time and times to come. The structural complexity of Mysterium is used to discuss the limitations and possibilities of the concept of imaginary media, and the historically loaded Wagnerian concept of Gesamtkunstwerkis employed for historiographical contextualisation. The article thereby provides a critical understanding of the limits of the technological in the concept of media and also offers a new perspective on a historically important but seldom addressed work of art and music, which has often left scholars struggling with its unfinished and unrealised character.

  • 20.
    Weinstein, Jami
    Linköping University, Department of Thematic Studies, The Department of Gender Studies. Linköping University, Faculty of Arts and Sciences.
    Untimely Futures and the Art of Revolutionary Life2023In: More Than Illustrated Music: Aesthetics of Hybrid Media between Pop, Art and Video / [ed] Kathrin Dreckmann and Elfi Vomberg, New York, London: Bloomsbury Academic, 2023, 1, p. 165-178Chapter in book (Other academic)
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