Change search
Refine search result
12 1 - 50 of 72
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Andrikopoulos, Georgios
    et al.
    Luleå University of Technology, Department of Computer Science, Electrical and Space Engineering, Signals and Systems.
    Nikolakopoulos, George
    Luleå University of Technology, Department of Computer Science, Electrical and Space Engineering, Signals and Systems.
    Kominiak, Dariusz
    Luleå University of Technology, Department of Computer Science, Electrical and Space Engineering, Signals and Systems.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Towards the Development of a Novel Upper-Body Pneumatic Humanoid: Design and Implementation2016In: 2016 European Control Conference, ECC 2016, Piscataway, NJ: Institute of Electrical and Electronics Engineers (IEEE), 2016, p. 395-400, article id 7810317Conference paper (Refereed)
    Abstract [en]

    In this article, the conceptual design of a 14 Degree-of-Freedom (DOF) upper-body pneumatic humanoid is presented. The movement capabilities of this novel robotic setup are achieved via Pneumatic Artificial Muscles (PAMs), a form of actuation possessing crucial attributes for the development of biologically-inspired robots. To evaluate the feasibility of the humanoid’s design properties, a 5-DOF robotic arm is developed and experimentally tested, while being studied from the scope of implementing a robotic structure capable of producing smooth and human-like motion responses, while maintaining the inherent compliance provided by the PAM technology.

  • 2.
    Elblaus, Ludvig
    et al.
    Kungliga tekniska högskolan, KTH.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Unander-Scharin, Carl
    Operahögskolan och Kungliga tekniska högskolan, Karlstads Universitet.
    New Scenic Subjects: Explorations of a System of Autonomous On-Stage Observers2016In: CHI EA '16: Proceedings of the 2016 CHI Conference Extended Abstracts on Human Factors in Computing Systems, New York: ACM Digital Library, 2016, p. 265-268Conference paper (Refereed)
    Abstract [en]

    This paper describes a full body interactive performance system where the users interact with a set of non-human observers. An observer is a sculptural scenic presence, vaguely anthropomorphic, equipped with a camera, that analyses the movements of the users, and creates a soundscape. The observers are movable but not mobile, meaning that their placement on stage defines a set of overlapping layers of activation for the users to interact with. This work aims to answer questions on what scenic subjects emerge from interacting with the observers, what new identities and relationships are established, and how we can use emotional and scenic components of these relationships to find new expressive qualities in stage productions

  • 3.
    Unander-Scharin, Carl
    et al.
    Operahögskolan och Kungliga tekniska högskolan.
    Elblaus, Ludvig
    Kungliga tekniska högskolan, KTH.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Höök, Kristina
    Mobile Life at KTH.
    Interacting with the vocal chorder: Re-empowering the opera diva2014In: CHI '14: Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 26 April - 1 May 2014, Toronto, Ontario, Canada, New York: ACM Digital Library, 2014, p. 603-606Conference 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.

  • 4.
    Unander-Scharin, Carl
    et al.
    Operahögskolan och Kungliga tekniska högskolan.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Höök, Kristina
    Mobile Life at KTH.
    The vocal chorder: Empowering opera singers with a large interactive instrument2014In: CHI '14: Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 26 April - 1 May 2014, Toronto, Ontario, Canada, New York: ACM Digital Library, 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.

  • 5.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Activity: Human Mechanics and Soulful Machines2009Conference paper (Other (popular science, discussion, etc.))
  • 6.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Activity: La Robot-Cygne: Choreographic reflections on dancing through a mechatronical double2009Conference paper (Other (popular science, discussion, etc.))
    Abstract [en]

    In my projects the objective is to explore choreographic perspectives focusing on research both in dance, on dance and for dance. Many artistic research projects are focusing the artistic process, while my research as a choreographer take another direction, by choosing to explore and reflect the phenomena focused in the artistic process. The process then constitutes a research laboratory – rather than its object – where artistic knowledge is developed to capture perspectives that other fields of science do not bring out. In my research projects the choreographic works can be described as an outcome, which at the same time serves as a source for finding further perspectives and approaches.   In the presentation I will focus a choreographic project initiated at the department of robotics at Mälardalen University that includes the development of a custom made electromechanical robot-swan performing a dance solo to an electro acoustic remix of Pjotr Tchaikovsky’s music. To choreograph the robot I wanted to move the dancer by hand. The movement program interface is therefore developed so that it captures and records the joint movements of the skeleton – my physical modelling of the robot body. The objective of the research is to elaborate on how digital technology can deconstruct and reshape corporeality in a staging of ambiguous identities, when dancing through another body – a robot double. Other areas that will be explored are how we code and read the body when the dancer is not human. What makes us experience something as an eye, a palm or genitals? What makes us perceive a gaze, a voice or a body responding to touch? As part of a two folded research outcome, video sequences from the process and a documentation of La Robot-Cygne will be accessible on a DVD connected to a text on the body as a multistable phenomenon.   La Robot-Cygne Choreography and movement programming: Åsa Unander-Scharin Dancer: The Robot-Cygne Music: Carl Unander-Scharin (remix of Pjotr Tchaikovsky) Robot construction and software development: Prof. Lars Asplund and Alexander Larsson, School of Innovation, Design and Engineering at Mälardalen University   As part of the presentation I will show video sequences from a DVD and slides from an Over-Head. Emneord: Koreografi, teknologi, dans, robotik, konstnärlig forskning

  • 7.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Activity: Robocygne2011Conference paper (Other (popular science, discussion, etc.))
    Abstract [sv]

    En oförglömlig afton i tre akter:Middag och upplevelser. Cirkus i glasriket, Dansande svanroboten koreograferad av Åsa Unander-Scharin och skapad av bland annat professor Lars Asplund, Mälardalens högskola.

  • 8.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Activity: Science Café - Möt Lars Asplund och Åsa Unander-Scharin: Science Café på Nobelmuseet kl 18.30. Ställ en fråga och få ett svar från vår inbjudna expert2011Conference paper (Other (popular science, discussion, etc.))
    Abstract [sv]

    Tema: kommunikationInteraktiva robotarHur reagerar människor på robotar och hur väl kan de tänkas kommunicera och uttrycka sig i framtiden? Lars Asplund professor i datateknik vid Mälardalens högskola och Åsa Unander-Scharin koreograf berättar, svarar på frågor och visar upp sin dansande robotsvan Robocygne.

  • 9.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Activity: Three Interactive Scenes of The Crystal Cabinet2011Conference paper (Other (popular science, discussion, etc.))
    Abstract [en]

    Lecture/ demonstration

  • 10.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Betygsnämnd2013Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Göteborgs universitet/ Konstnärligt kreativ musikvetenskap/Anders Hultqvists doktorsavhandling

  • 11.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Betygsnämnd, , Göteborgs universitet2013Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Doktorsavhandling i Musikvetenskap, konstnärlig-kreativ inriktning

  • 12.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Biträdande handledare till doktorand Charlotta Palmstierna Einarssson: Doktorandprojekt kring den fysiska rörelsens betydelse i Samuel Becketts pjäser.2010Other (Other (popular science, discussion, etc.))
  • 13.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Chair of Assessment committee2014Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Artistic research programe at The Norwegian Academy of Music. Håkon Stene

  • 14.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Chair of Assessment committee2014Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Artistic research programme at Konsthögskolorna i Oslo (KHiO)/ Operahögskolan

  • 15.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Dansande robotar på Opera mecatronica2010Other (Other (popular science, discussion, etc.))
  • 16.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Den himmelska mekaniken: Presentation av VR finansierat konstnärligt forskningsprojekt2010Conference paper (Other (popular science, discussion, etc.))
  • 17.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Diskutant 25% seminarium2014Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Lunds universitet/ Musikhögskolan i Malmö. Nguyen Thanh Thuy: Avhandling i musik

  • 18.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: God morgon Stockholm: Intervju om utställningen Opera mecatronica2010Other (Other (popular science, discussion, etc.))
  • 19.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Gästlärare Extending Opera2012Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Workshop

  • 20.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Gästlärare Extending Opera2011Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Extending Opera Workshop

  • 21.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: International Computer Human Interaction2014Other (Other (popular science, discussion, etc.))
  • 22.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Koreografi, teknologi och fenomenologi2010Conference paper (Other (popular science, discussion, etc.))
  • 23.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Kulturnyheterna2009Other (Other (popular science, discussion, etc.))
  • 24.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Kulturnyheterna: Reportage om utställningen Opera mecatronica2010Other (Other (popular science, discussion, etc.))
  • 25.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Ledamot i bedömningsgrupp för Konstnärliga utbildningar i musik2013Other (Other (popular science, discussion, etc.))
  • 26.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Ledamot i Vetenskapsrådets kommitté för konstnärlig forskning2013Other (Other (popular science, discussion, etc.))
  • 27.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Mänsklig mekanik och besjälade maskiner2013Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Vetenskapsrådets kvartalsseminarium om dansforskning i Kunskapskanalen

  • 28.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Mänsklig mekanik och besjälade maskiner: Dans och ny teknologi2010Conference paper (Other (popular science, discussion, etc.))
  • 29.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Mänsklig mekanik och besjälade maskiner: Konstnärlig forskning kring koreografi och teknologi2010Conference paper (Other (popular science, discussion, etc.))
  • 30.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Nordiskt forum för forskning i dans2009Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Styrelsemedlem

  • 31.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Opera Mecatronica Live2012Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Reportage i programmet "Sverige" inför premiär/vernissage på Kungliga Operan och Opera Dagen Rotterdamm

  • 32.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Oppponent2013Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Slutseminarium, Kim Hedås doktorandprojekt i Musikalisk gestaltning,

  • 33.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Performing Arts Research Center of the Theatre Academy in Helsinki2010Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Navn: Betygsnämnd för doktorsavhandling i koreografi

  • 34.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: RUUKUU/22014Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Studies in artistic Research

  • 35.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: Sakkunnig i ärende angående professorsbefordran2011Other (Other (popular science, discussion, etc.))
  • 36.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Aktivitet: TV4 Nyheterna: Reportage om utställningen Opera mecatronica2010Other (Other (popular science, discussion, etc.))
  • 37.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Dancing machines2010In: Music, education and innovation: Festschrift for Sture Brändström, Luleå: Luleå tekniska universitet, 2010, p. 205-223Chapter in book (Other academic)
  • 38.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Moving mechatronics2009In: Tedance: Perspectives on Technologically Expanded Dance, Lissabon: Faculdade de Motricidade Humana, Lissabon University , 2009Chapter in book (Other academic)
  • 39.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Mänsklig mekanik och besjälade maskiner2009In: Konst och forskningspolitik: konstnärlig forskning inför framtiden, Stockholm: Vetenskapsrådet , 2009, p. 116-131Chapter in book (Other academic)
  • 40.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Mänsklig mekanik och besjälade maskiner: koreografiska perspektiv på mänskliga kvaliteter i kroppars rörelse2008Doctoral thesis, comprehensive summary (Other academic)
    Abstract [sv]

    Idag kan vi fånga och skapa rörelse på sätt som tidigare inte varit möjligt. I datorn kan kropp, rum, tid och rörelse hanteras som separata element - delar som går att plocka isär och sätta samman på nya sätt. Med digital teknologi kan kroppens sensoriska och motoriska förmågor förlängas, förflyttas och förvandlas så att vi kan beröra och röra oss genom kroppar och objekt på avstånd. Kroppsligheten förändras när vi kan programmera rörelse och dansa genom en annan kropp än vår egen. I denna avhandling är forskningsfrågan: Hur kan digital teknologi användas i koreografiska verk och processer för att fånga mänskliga kvaliteter i kroppars rörelse? Forskningsprojektets teoretiska huvudspår är Don Ihdes experimentella postfenomenologi. Avhandlingen består av sju kapitel och en DVD med videoutsnitt från de koreografiska verken. Det första kapitlet är en inledning till avhandlingsarbetet. Nästa kapitel tar utgångspunkt i det koreografiska arbetet med att programmera en dansande industrirobot i verket Orfeus klagan och fångar upp frågeställningar som uppstått i arbetet med tidigare koreografiska verk. Det tredje kapitlet beskriver projektets teoretiska utgångspunkter och influenser. Därefter följer ett kapitel som beskriver arbetet med utställningen Navigation, forskningsprojektets första serie av interaktiva mekatroniska och virtuella dansare. Det femte kapitlet diskuterar utformandet av koreografiska metoder i arbetet med mänskliga dansarna i scenföreställningen Hybrid, väsen och labyrinter, som rör frågeställningar om att vara människa, djur eller maskin. Kapitel sex behandlar hur olika teorier, teknologier och koreografiska metoder kan bidra till att skifta mellan perspektiv som synliggör det mänskliga i kroppars rörelse som multistabilt fenomen. Aspekter som framträtt i avhandlingsarbetet samlas upp i kapitel sju i form av fyra Komprimerade klassiker, en serie koreografiska installationer varav en specifikt utformats för DVDn.

  • 41.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Ombra mai fù2010Other (Other academic)
    Abstract [sv]

    Ombra mai fùIdé och intonation: Åsa & Carl Unander-ScharinTrädkonstruktion och tekniker: Petra KiiskinenAria: Georg Friedrich Händel (ur Xerxes, 1738)Musikremix, sång, elektronik ochprogrammering: Carl Unander-ScharinIdé- och elektronikkonsult: Magnus LundinLjus: Anders LarssonUrpremiär under invigningen av Piteå KonserthusAcusticum år 2007, därefter utställd i Göteborgsoperansfoajé år 2008.Scen- och sinnesproduktion med stöd av Konstnärsnämndenoch Statens kulturråd.Ett sensuellt kopparträd som när publiken närmar sig sjunger Händels Largo ackompanjerad av trädkronans darrande högtalarlöv – en smäktande aria där Xerxes förklarar sin kärlek till detta träd som får honom att njuta i dess skugga. Genom kopparträdets stam löper ljudkablar som sprider sig ut genom grenarna till mässingslöv där ljudvågornas darrande rörelse fortplantar sig genom lövverket. Via sensorer på trädets stam och löv förvandlar rotsystemets datorer och kretskort publikens rörelse till musik, vind och ljus. Höjd 280 cm. Bredd 170 cm.

  • 42.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Project: Artificial Body Voices2010Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Artificial Body Voices är ett dansk-svenskt scenkonstnärligt komplex som undersöker människans drift att omskapa sig själv genom teknologier som förlänger och förändrar kroppen. Genom att stimulera snarare än simulera kroppslighet inbjuder projektet publiken till ett konstnärligt experimentarium – med koreografi, robotik, musik/elektroakustik och video/3D-teknik. I  en serie workshops utvecklas detta komplex av sällsamma kroppar, röster och rum – fysiska, virtuella och artificiella.  Konstnärligt teamKoreografi: Åsa Unander-Scharin (S)Musik och elektroakustik: Carl Unander-Scharin (S), Klas B. Wahl (remix) (S)Video, ljus och grafik: Epì - Mark Viktov (DK) och Lene Juhl (DK)  Medverkande i komplexetTvå dansare15 baletteleverEn robotsvan Ett kluster av skärmar och ytor för video/3D projektioner samt ljudsystem för elektroakustik och virtuella röster Urpremiär på Studio Acusticum hösten 2011 Scen - och sinnesproduktion med stöd av Konstnärsnämnden, Kulturkontakt Nord och i samproduktion med Dans i Nord och i samverkan med avdelningen Musik, dans och teater och Studio Acusticum i Piteå.Vetenskaplig artikel 2012 om verkets kroppar, kroppsligheter och koreografiska metoder.

  • 43.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Three interactive scenes of The Crystal Cabinet2011In: Body, ISSN 1470-9120, E-ISSN 1470-9120, Vol. 10, no 1, p. 1-13Article in journal (Refereed)
    Abstract [en]

    This article focus’ on three interactive scenes from The Crystal Cabinet (2008) producing singular scenic subjects as an effect of movement-body-technology-voice-word-connections. In three video excerpts I will elaborate on how two dancers and one opera singer, in an ambiguous way control, obey, command and succumb to the expressions and rhythms of a digital voice reading texts by William Blake. The interactive performance technology was developed and used as a way to acquire new rhythms and discover new kinetic possibilities in a non-hierarchic connection of body, movement and text. Rather than regarding the elaborations of the digital voice as the final outcome of the interaction, we wanted to set up a scenic situation where the rhythms of the voice where circled back to the performers bodies and elaboration of the choreography.

  • 44.
    Unander-Scharin, Åsa
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Three interactive scenes of The Crystal Cabinet2010Conference paper (Refereed)
    Abstract [en]

    Three Interactive Scenes of The Crystal Cabinet Åsa Unander-Scharin, Luleå University of Technology/ Dept. Music and Media   Choreography is a field where corporealities are at play. The collaboration of digital technology and dance creates a space for experimentation where the interrelation among bodies, physical and digital realities can be explored and staged in multiple ways. Corporeality does not depend simply on the materiality of the body, but rather on the imagination that stimulates the sensations. We are our body in the sense in which phenomenology understands our motile, perceptual, and emotive being-in-the-world. But we become these lived bodies in a social and cultural context. Body qualities we experience as natural, desirable, repulsive, forbidden or what we locate as erotic zones, are not biologically determined but constructed and variable.   The interactive scenes of The Crystal Cabinet (2008) constitute the first part in my choreographic research project exploring volatile bodies and multistable corporealities. This performance took the form of a dream play opera in twelve scenes, including texts and images from William Blake’s (1757-1827) illuminated books, performed by three opera singers, two dancers and twelve musicians in an interplay with moving computer animations and interactive technology. The frame story scenes take place in the physical world, while the in between passages are staging visits in to Blake’s visions. To create his books Blake invented a printing-machine with which he could print his handwritten poems and images. We transformed this idea into an interactive area where the influences among bodies, technology and words work in several directions. My presentation will focus on three video excerpts from The Crystal Cabinet where human and non-human bodies and voices enfold and unfold in continuous variation.   The sensory device in the interactive scenes consists of a camera hanging from the ceiling following bodies moving underneath. The camera is connected to a computer programme that transforms the movements to a play backed voice. The programme could be described as a shell where the intermingling parameters are not fixed but open so that we throughout the development of the scenes could calibrate the sensitivity. In three video excerpts, shown as part of the presentation, I will elaborate on how three different characters The Assistant, Blake and Angela, in an ambiguous way control, obey, command and succumb to the expressions of a voice reading Blake’s texts.   With his foot centre stage The Assistant slowly rotates down to the floor where he extends his hand to the camera to grasp the machine-voice and pull it down to the floor. Using the body as a ruler and his limbs as a pair of compasses the dancer moves across the space, like a geometrician measuring the world. The voice follows his movements, and on the wall behind him Blake’s portrait of Isaac Newton become elastic and stretchable, dissolves and disappears. The choreography is generated from body shapes found in Blake’s images. Throughout this scene the dancer deforms his body shape by moving like a computer programme morphing between pictures. At the beginning the dancer seems to control the machine-voice but throughout the solo the relation become more and more ambivalent. Gradually the Assistant abandons control of his body, letting it become shaped by the fluctuating velocity of the voice. By degrees he enfolds with the machine and his body cracks, undermined by the extremely slow words. In this scene the played back voice intertwines with a “crystal sound”. The degree of the convolution as well as the velocity of the voice depends on the interactor’s spatial position, underneath the camera. While the dancers in-depth movements influence the pitch and velocity of the virtual voice, his sideways movements have an effect on the crystal sound. The motive was to create a space where the density and gravity seems to fluctuate in different places – a fluctuation heard in the voice and seen in the dancers body.   In the second video excerpt the interactive area becomes a poetry-machine in which Blake, performed by an opera singer, captures the words and images of a new poem. He walks across the room fumblingly grasping words with his gestures. This time the interface consists of a grid of phrases and sounds divided into 15 squares and when the performer enters them the machine responds with the words or sound of that square. The gestures are expressing the text fragments, and the interaction rule says that, when hearing a word, he has to respond with the gesture corresponding to that specific expression. In the background the words write themselves on the wall.   When the last scene starts Angela is left alone on stage. The machine voice slowly starts to move her body, saying; delight, delight, my only delight. This time the dancers gestures and movements are directly connected to the words of the voice. Her spatial position could be described as a pencil pointing to loops of each word or even phoneme of the text. Through small changes of her position she moves between the words, and while staying in one place her upper body scratches and itches the vowels and consonants of the voice. The sound loops float into her torso to become meandering motions transmitted into the limbs. She then searches around the room to be captured by other words: rose, turned away and jealousy. The further back she moves the more chopping and stemming the voice become; Thorns, thor, or-or-r-r-n-n-s.  The fragmentation of the text into pieces of words is transformed into a similar mincing of the dancers movements. Close to the audience the voice performs longer phrases and she stays in a loop saying: what can it mean? When she moves up stage left the first words of the poem I-I-D-Dre-Dreamt wash over her and the trembling movements of the voice spread through her body. From this position Angela continues her shivering “reading” to unfold the entire text by moving sideways across the room.   In this dream play opera we used interactive performance technology as a way to require new rhythms and discover new kinetic possibilities in a non-hierarchic connection of body, movement and text. Rather than regarding the elaborations of the digital voice as the final outcome of the interaction, we wanted to develop an interactive system where the rhythms of the voice where circled back to the performers elaboration of the choreography.

  • 45.
    Unander-Scharin, Åsa
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Hjort, Madeleine
    Sverige.
    Projekt: Dansdatabasen2010Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Digitalt arkiv för danskonst i Sverige

  • 46.
    Unander-Scharin, Åsa
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Unander-Scharin, Carl
    Operahögskolan och Kungliga tekniska högskolan.
    Excerpts from the artistic process of artificial body voices2011Conference 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 3D-technique. This complex of physical, virtual and artificial bodies and voices will be developed in a process divided into six workshops, during 2010/2011, where the contributors share and transform the artistic material into new formats and combinations. In the format of a 45 minutes installation/ workshop we will present excerpts from the artistic process followed by a discussion on how a body-voice-technology encounter produce new scenic subjects, artistic methods and concepts: The Robocygne (robot-swan-dancer), The Throat (computer-operavoice-artefact) and Clockwork Body Parts (video). In addition to the scenic complex, Artificial Body Voices constitutes the laboratory of choreographic material and concepts in Åsa Unander-Scharin’s artistic research project producing and exploring multistable bodies and shifting corporealities. The project also constitutes the laboratory for vocal material in Carl Unander-Scharin´s PhD project “Tenor techniques and Singing Technologies”, hosted by the University college of Opera in Stockholm/Royal institute of Technology. In November 2010 a series of their works was shown in the exhibition Opera Mecatronica at Experimental stage Reactor hall 1 at the Royal Institute of Technology in Stockholm: www.operamecatronica.com

  • 47.
    Unander-Scharin, Åsa
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Unander-Scharin, Carl
    Operahögskolan och Kungliga tekniska högskolan.
    Robocygne: Dancing life into an animal-human-machine2016In: Leonardo: Journal of the International Society for the Arts, Sciences and Technology, ISSN 0024-094X, E-ISSN 1530-9282, Vol. 49, no 3, p. 212-219Article in journal (Refereed)
    Abstract [en]

    Robocygne is an artistic project that revolves around the development of a custom-built robotic bird, dancing to a remix of Tchaikovsky’s “Swan Lake.” The choreography was created through a process where movements were danced into the robot by the choreographer’s manipulation of the limbs, by hand, to the music. To enable this multi-tracking procedure, novel software was developed, allowing overlying recording of motions in synchronization with an audio-track. From an artistic perspective the authors discuss the search for choreographic and musical qualities and emphasize how material aspects of body and technology interrelate with emotional expression in Robocygne.

  • 48.
    Unander-Scharin, Åsa
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Unander-Scharin, Carl
    Operahögskolan och Kungliga tekniska högskolan.
    Elblaus, Ludvig
    Kungliga tekniska högskolan, KTH.
    Singing interaction: embodied instruments for musical expression in opera2014In: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 24, p. 7-12, article id 2Article 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.

  • 49.
    Unander-Scharin, Åsa (Choreographer)
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    03.01.03: Tre dansfilmer à en minut2010Artistic output (Unrefereed)
    Abstract [en]

    Three one minute dance films by photography students at Dramatiska Institutet (University College of Film, Radio, Television and Theatre) Choreography and dancer: Åsa Unander-Scharin Music: Håkan LidboFilm photo and editing : Johan Holmquist and Iga Mikler Light design : Anders Larsson Project initiative: Robert Nordström (DI)

  • 50. Unander-Scharin, Åsa (Choreographer)
    10.01.10 och digitala dansverk: Föreställning och presentation av konstnärlig forskning kring koreografi och digital teknologi2010Artistic output (Refereed)
12 1 - 50 of 72
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf