The throat III

Unander-Scharin, Carl; Höök, Kristina; Elblaus, Ludvig

doi:10.1145/2468356.2479596

Cited by 6 publications

(3 citation statements)

References 2 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In performing arts, interactive technologies and robots have already entered the stage alongside human performers or audience members (e.g. [4,20,26,38,40,51,57,58]). Drones are no exception, co-performing with dancers as swarms [31], partners [25], or pixel-formations in large-scale performances [19].…”

Section: Hci the Arts And Movement-based Designmentioning

confidence: 99%

Dancing With Drones

Eriksson

Unander-Scharin

Trichon

et al. 2019

Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems

Self Cite

View full text Add to dashboard Cite

Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together. CCS CONCEPTS • Human-centered computing → HCI theory, concepts and models; Empirical studies in HCI.

show abstract

Section: Hci the Arts And Movement-based Designmentioning

confidence: 99%

Dancing With Drones

Eriksson

Unander-Scharin

Trichon

et al. 2019

Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems

Self Cite

View full text Add to dashboard Cite

show abstract

“…However, there appears to be a gap in the design of interfaces for controlling and processing vocal sound. Although there is notable ongoing work and research in voice and the application of biofeedback and biosensing technologies, a significant majority is geared towards discovering how the expressivity of a singer's gestures (typically their hands) can be harnessed to process their sound according to sonification mappings based on spatial orientation and acceleration of limbs [17] [18], or the recognition of a gestural vocabulary [19] [14] [8]. Recent research and applications of respiration as a control parameter within NIMEs have seen the development of novel interfaces and instruments, and investigated couplings between music control, biofeedback and breathing [20], or a dancer's respiratory influence upon music [21].…”

Section: Introductionmentioning

confidence: 99%

“…With regards to singing and vocal production within the context of NIME and HCI research, there has been notable work [17] [37] [38] [39] [18]. Two who have been quite influential to our research, are Pamela Z and Imogen Heap.…”

Section: Introductionmentioning

confidence: 99%

The Body Electric: A NIME designed through and with the somatic experience of singing

et al.

View full text Add to dashboard Cite

This paper presents the soma design process of creating Body Electric: a novel interface for the capture and use of biofeedback signals and physiological changes generated in the body by breathing, during singing. This NIME design is grounded in the performer's experience of, and relationship to, their body and their voice. We show that NIME design using principles from soma design can offer creative opportunities in developing novel sensing mechanisms, which can in turn inform composition and further elicit curious engagements between performer and artefact, disrupting notions of performer-led control. As contributions, this work 1) offers an example of NIME design for situated living, feeling, performing bodies, and 2) presents the rich potential of soma design as a path for designing in this context.

show abstract

The vocal chorder

Unander-Scharin

Höök

2014

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems

Self Cite

View full text Add to dashboard Cite

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.

show abstract

The throat III

Cited by 6 publications

References 2 publications

Dancing With Drones

Dancing With Drones

The Body Electric: A NIME designed through and with the somatic experience of singing

The vocal chorder

Contact Info

Product

Resources

About