The question of identity in music composition is interrelated with the condition of musical material and form and the qualities which make musical ideas traceable. The mechanisms for creating musical identity during much of the modern period were based on the elements of pitch, rhythm, harmony and form. Until the twentieth century musical identities were regulated according to traditional systems. The advent of modernism in music was marked by the new solid identities, timbre and texture to the foreground as significant identity-bearing musical elements, and at the same time saw blurring of the traditional concepts of identity. The avant-garde movements of the post-World-War-II period in particular challenged the established identity concepts by liquefying the very essence of the musical work. The modern conceptual tools need to be replaced with new ones in order to address the current state of precariousness of musical material and form. In my original composition for sinfonietta entitled rh, I propose liquid identity as a new concept of musical identity. Liquid identity is based on a new image of musical sound which embodies the internal difference of sound in a self-existing conceptual model. In a state of liquidity all hierarchies flatten and the concept of development is rendered obsolete. The composer then writes constantly “in the middle” and compositional decisions are taken here and now. Consequently, the process of composition becomes a creative anarchic praxis without an end goal.

No description available.

Undersökningens syfte har varit att bidra till ökad förståelse för hur konceptet“Environmental Storytelling” kan verka som ett ledande narrativ i en digital gestaltning, iform av ett datorspel, där användaren förs framåt i berättelsen med fokus på EnvironmentalStorytelling, det vill säga spelets miljö. I denna artikel analyseras kortfattat vad narrativ inomdigitala spel innebär för att sedan gå vidare med att undersöka vad EnvironmentalStorytelling fyller för roll inom digitala spel. Designperspektivet rhizomatik har tillämpatssom både teori och förhållningssätt. För att kunna genomföra vår undersökning skapades endigital gestaltning för att testa hur väl vi som speldesigners kunde skapa ett narrativ somskulle förmedlas med hjälp av Environmental Storytelling. Undersökningen genomfördesmed hjälp av speltestning och en enkät som 12 deltagare fyllde i och som fick ageraspeltestare. Frågorna som ställdes i enkäten hade fokus på hur väl vi som speldesignerslyckats förmedla en förskriven berättelse till spelaren. Resultatet av enkäten kan inte styrkatidigare forskning av bland annat projekt Aporia. Projektets resultat visar ändå på olikheter itolkning och upplevelse bland deltagarna. Eftersom vår undersökning skett under begränsadeomständigheter går det inte att dra för stora slutsatser av projektets resultat, men vi vågarändå påstå att Environmental Storytelling kan verka som ett ledande narrativ i ett spel. / The purpose of the study has been to contribute to a better understanding of how the concept"Environmental Storytelling" can act as a leading narrative in a digital design, in the form ofa computer game, where the user is then advanced in the story with a focus on EnvironmentalStorytelling. In this article it’s briefly analyzed what storytelling in digital games means andthen proceeded to investigate what Environmental Storytelling plays as a role in digitalgames. The design perspective rhizomatics has been used both as theory and approach. Toconduct our research we created a digital game, to test how well we as game designers couldcreate a story that would be conveyed with the help of Environmental Storytelling. Theresearch was conducted with the help of game testing and a survey that 12 participants filledin and who also acted as game testers. The questions asked in the survey focused on how wellwe as game designers managed to convey and prescribe the story to the player. The results ofthe survey can not prove previous research of e.g. project Aporia. But the project's results stillshow differences in interpretation and experience among the participants. Since our surveytook place under limited circumstances, it is not possible to draw too great conclusions fromthe project's results, but we still dare to say that Environmental Storytelling can act as aleading narrative in a game.

Utilizing the lexicon of the French experimental thinkers Gilles Deleuze and Felix Guattari, research is engaged which indicates that their insights are compatible with and augmentative to the field of Conflict Studies. Specifically, four recognized conflict management approaches, which include the concepts of negotiation, the transformation of the conflict, narrative, and the transformation of the conflicted parties, are populated via an emerging Deleuze and Guattari inspired modus operandi. This process has resulted in an original new term, Conflict Inhabitation, which proposes that the conflicted parties recognize, to their mutual benefit, the centrality of difference to possibility and the acknowledgement of existence as dynamically becoming. This adventure is contextualized utilizing a Personal Narrative Autoethnographic Methodology which systematically engages the intensity of what it means to reside as a person in midst of the human induced Global Warming Climate Change experience during the Anthropocene Epoch. / Graduate