This thesis traces the development of a number of mobile computer music systems and their use in ensemble percussion performances. The research is motivated by the challenges of working with laptop based computer music systems in ensemble situations. The aims were to develop elegant, portable, and flexible computer music tools, to make these tools accessible to other percussionists, and to discover the opportunities that they enable in performance practice.These aims have been explored through three musical projects for percussion and Apple's iOS devices: Nordlig Vinter, a suite of duo compositions; and two collaborative works, 3p3p and Snow Music developed together with two other percussionists.Articulated from a performer's perspective, this artistic research examines a number of software frameworks for developing mobile computer music applications. The development, rehearsal process and performances of the musical projects have been documented with video and audio recordings.An ethnographic investigation of this data has given insight into the limitations and affordances of mobile computer music devices in a variety of performance contexts. All of the projects implemented elegant computer music setups and the limited visual interfaces of the mobile devices demanded simple but clear interface design. In Snow Music in particular, "percussive" interaction with the mobile devices along with an improvised performance practice contributed to a collaborative development cycle. This process revealed some of the limits of expression with the computer sounds used and led to a very successful series of performance outcomes. / <p>Validerat; 20120614 (anonymous)</p>

In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.

The present paper discusses the two concepts 'music as art' and 'music as function', put in a historical context but also based on my own experiences and development throughout the Nordic Master in Folk Music. Special regard is given to how my changing relationship to these two concepts have affected my own development. The paper also describes several different methods for artistic development as well as some ideas about what (folk) music can be and how we can think about it. / <p>Bilaga: 1 DVD</p>

‘Practices of tactility, remembering and performance’ is a practice-led inquiry in which performance-making and writing are equal partners. The thesis comprises a performance folio and a dissertation. The folio comprises two performance works. / the backs of things: This 35-minute work for two dancers had a public season mid-way through the candidature (September 8th – 11th 2005). A DVD documentation is submitted with the dissertation. / here, now: This 50-minute multi-modal performance was presented for assessment during a public season of six performances (March 22nd – 25th 2007). It is a solo piece in which I perform. The work was attended by the examiners and a DVD documentation is submitted with the dissertation. / The dissertation provides a ‘narrative of a practice’ focused on tactility, remembering and performance. It elucidates what has arisen through the dual modalities of performance-making and writing. The dissertation is not an exegesis of the performance folio. Rather, it is a critical and reflective account of the practice within which the performances reside. / The arc of emergent meaning in the narrative of practice comprises three phases: Precedents; Choreographic Tactility; and Intercorporeal Remembering. In the first phase, I discuss the precursors to my subsequent practice of tactility and remembering. I detail how I sought to diminish the effects of the objectifying gaze by staging a series of interventions into the visual field of the dance. In the second phase, I articulate my use of touch, naming it a practice of choreographic tactility. I outline the connectivity of touch and suggest that it fosters an understanding of the intercorporeal nature of selfhood. I posit practices of tactility as arenas for a relational ontology. / In the third phase, I take the notion of intercorporeality thus established and show how it engenders an embodied knowledge of remembering. I define a range of heuristic devices that I established so as to craft remembering in my performance practice. Finally, I draw the discussion of tactility and remembering towards what I term an ‘aesthetics of tactility’. I describe this as a performance domain where intercorporeal remembering is privileged. This is instantiated in the poetic remembering of here, now with which the dissertation closes.

This thesis proposes a new way of thinking about conversation as a methodology and argues that conversation itself can be considered as an art practice. The practice research has been developed through a body of five artworks produced between 2012-14, each of which directly engaged with communities and residents of the city of Nottingham, UK, and emerged in relation to the specificity of this location. The doctoral research has been presented within the international contexts of art and social science through several seminars and conferences, including the researcher's co-founding and co-curation of InDialogue (2012 – present), a biannual interdisciplinary symposium. The research engages with existing work on conversation and the dialogic by Allan Kaprow, David Bohm, Mikhail Bakhtin, Grant H. Kester and Hubert Hermans, from which it develops a socio-artistic and philosophical framework to theoretically underpin a body of dialogic practice. For the purpose of this thesis, PhD stands for Practice in High Definition: the body of work produced has been tested and analysed to develop an original methodology, which has been termed APSSL, to describe its five key features: architactics, performativity, storyteller, social activism and legacy. The thesis sets out the framework for a performative and experiential approach, providing examples of the orchestration of space and the dialogic architectures of site and body. Conversation is considered as a methodological producer and as the instigator of practice. Aesthetic in approach, the methodology is recognised for its socializing power in terms of generating the opportunity for a public presentation of self and other, and for the mobility of voices in spaces. It establishes that there can be an artistry of conversation.

Denna masteruppsats har formen av en vetenskaplig essä. Dess syfte är att försöka synliggöra vad en bildkonstnärlig process är, undersöka hur den kan beskrivas och på vilket sätt den bygger på kunskap. Uppsatsens första del tar sin utgångspunkt i en berättelse där en konstnärlig process beskrivs och den andra delen i intervjuer med tre verksamma bildkonstnärer. Berättelsen och intervjuerna utgör undersökningens empiriska material och utifrån detta reflekteras och diskuteras olika teman. Ett teoretiskt perspektiv är här filosofen John Deweys begreppsvärld där erfarenhet, handling och görande blir viktiga aspekter. Uppsatsen försöker bryta med förväntningar kring vad en konstnärlig process är såsom exempelvis enbart ett uttryck för personlighet eller som ett direkt uttryck av känslor. Istället lyfts det konstnärliga görandet fram som något som i allra högsta grad bygger på skicklighet och tillägnad kunskap. Den konstnärliga processen beskrivs ha en svårfångad karaktär, därför ägnas sista delen av uppsatsen åt att även diskutera syftets relevans. Här lyfts andra konstnärliga utövares och forskares formuleringar kring konstnärliga processer fram. Frågor ställs kring vad som händer när kunskapsbegrepp används för att beskriva en konstnärlig process och den konstnärliga praktikens relation till det textuella berörs. / This master's thesis has the form of a scientific essay. Its purpose is to try to make visible what a visually artistic process is, investigate how it may be described and in what way it is based on knowledge. The first part of the essay is based on a story in which an artistic process is described and the second part on interviews with three active artists. The story and the interviews together make up the empirical material of the investigation and based on this, different themes are reflected and discussed. A theoretical perspective here is the conceptual world of philosopher John Dewey, in which experience, action and doing are important aspects. The paper tries to break down expectations regarding what an artistic process is, such as a mere expression of personality or a direct expression of emotions. Instead, the artistic performance is brought forward as something which to a great extent is based on skill and acquired knowledge. The artistic process is described as having an elusive character and therefore the last part of the essay is also dedicated to discussing the relevance of the purpose. Here are presented phrasings by other artistic practitioners and researchers’ in regards to artistic processes. Questions are asked regarding what happens when knowledge concepts are used to describe an artistic process, and the relationship between the artistic practice and the textual is touched upon.

The design of smart, interactive, computational, and electronic textiles involves working with unknown variables that expand the tangible dimensions of textiles. Non-visual concepts such as electromagnetic fields, electrical current, computational code, and the temporal attributes of materials that exhibit dynamic qualities require that textile designers be able to perceive and manipulate domains of the textile that extend beyond its conventional forms of expression. Through these qualities, the textile becomes an interface to otherwise imperceptible phenomena of electromagnetism and thereby opens up to new textile design expressions. However, to do so requires a shift in the understanding of how fundamental textile concepts such as material, form, and expression interrelate to affect the expressive domain of the textile itself. This research aims to describe the material attributes, characteristics, and expressions of electromagnetic phenomena as explored through experimental research methods and suggests ways in which electromagnetic phenomena can be worked with as a design material for smart textiles. Further, it seeks to expand upon conventional design variables of textiles to include its electromagnetic domain. The experiments presented in this thesis suggest a framework for working with magnetic, dielectric, and conductive materials through textile techniques of weaving and knitting. The experiments point to the interrelationship between the textile material, structure, and form, identifying this triad as the key influencers that determine how textile expressions can embrace electromagnetic phenomena. The results of the experimental work are methods that show accessible ways for textile designers to visualize and perceive electromagnetic fields in textiles, such as sensing the impressions of textile structures on the magnetic field using a method of scanned-surface imaging; perceiving electromagnetic fields using textile antennas and spatial exploration, resulting in sonic expression; and kinetic textile behaviours at the yarn level through magnetic interactions. Furthermore, the design possibilities of the materials, methods and tools suggested in this thesis are demonstrated through examples of interactive artefacts, e.g., in the form of ambient energy harvesting forest mobiles and radio-frequency (RF) body extensions. The results suggest the variety of electromagnetic textile expressions that can be created when methods and tools to perceive and manipulate electromagnetic phenomena in textiles are consciously utilized.

Artistic research is a relatively new and understudied topic in scholarly communication within Library and information science. This knowledge deficit, combined with ill-fitting systems and categories, maintains the status of artistic research as something mysterious and different. As a result, knowledge produced through artistic research may not be justly represented in the academic infrastructures, and not be made available with the same integrity as traditional research output. The aim of this study is to map the publishing landscape of artistic research in Sweden and to describe how outputs of artistic research relate to current academic infrastructures. An inductive analysis of the units of academic output listed by the researchers themselves as publications of research shows how they are represented in, and outside of, the archiving systems. The analysis is supported by document theory, Kuhn's theory of scientific paradigms, and the classification theory of Bowker and Star. Findings suggest that publishing practices on the level of each project are influenced by institutional affiliation. Researchers are forced to a trade-off between statistical visibility in institutional repositories and coherent content visualization in extra-institutional channels. The institutional infrastructures designed for traditional output lack guidance for artistic output, which results in in consistency in registration, poor quality of representation, and inconsistent metadata. Channels outside of the institution lack discoverability and statistical visibility.

My master’s thesis project is about creating music for piano and improvising ensemble based on compositions that set the ground for an open improvisation. I wanted to find out methods of how to write and communicate a piece that gives the performing musician a maximum freedom to interpret their parts and still share the same vision of the piece. In order to get there I tried out different strategies of composing and different instrumentations. I also compare this project to previous ones and examine how the playing with the ensemble in this project affected my own style of playing. The exam concert together with this thesis document the process and outcome of this project. / <p>Composer: Johann Fritsche.</p><p>Musicians: Johanne Skaansar, Viola, Samuel Lazar Eriksson, Violoncello, August Eriksson, Double Bass, Fiach O’Briain, Drums, Johann Fritsche, Piano.</p><p>Uploaded media file: Johann Fritsche's exam concert. </p>

The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized. / Licentiatavhandlingen Designa med stadens ljud undersöker det urbana ljudrummets konstitution och kvalitativa egenskaper utifrån ett designorienterat och praktiknära perspektiv. Avsikten med arbetet är att utveckla verktyg och metoder för representation, kommunikation och analys av stadens exteriöra ljudmiljö genom att synliggöra interaktionen mellan arkitektur, ljudbildning och upplevelse. Genom att visa exempel på andra sätt att kommunicera och analysera ljud i staden än dagens vedertagna metoder, är syftet är att bidra till kunskapsutvecklingen inom fältet för urban ljudplanering- och design. / <p>QC 20181211</p>