2017
Federico Avanzini / Federico Fontana / Hanna Järveläinen / Stefano Papetti
Detection of keyboard vibrations and effects on perceived piano quality
In: Journal of the Acoustical Society of America: S. 2953–2967.
Online verfügbar (letzter Zugriff: 27.06.2023)
Lucas Bennett
Restaurer ou réinterpreter
In: Schweizer Musikzeitung, 3/2017, S. 9-10.
Lucas Bennett / Germán Toro Pérez
Performance Practice of Electroacoustic Music
Towards a practice-based exchange between musicology and performance
In: International Computer Music Conference Proceedings. Shanghai: S. 135–139.
Lucas Bennett / Germán Toro Pérez
Spatial Concepts and Performance Practice. On the Impact of Evolving Sound Diffusion Standards on Electroacoustic Music
In: Proceedings of the Electroacoustic Music Studies Network Conference, Shanghai.
Bisig, Daniel/ Unemi, Tatsuo
Rapid Biography in a Society of Evolutionary Lovers
In: Proceedings of the Generative Art Conference, Ravenna, Italien, 13.-15.12.2017.
Daniel Bisig / Florian Bogner
Pendulum — Exploiting Simple Physics for Generative Art
In: Proceedings of the Generative Art Conference. Ravenna, Italien.
Online verfügbar (letzter Zugriff: 27.06.2023)
Daniel Bisig / Philippe Kocher
Musical Approaches for Working with Time-Delayed Feedback Networks
In: Proceedings of the Sound and Music Computing Conference. Finnland: S. 343–350.
Online verfügbar (letzter Zugriff: 27.06.2023)
Daniel Bisig
Watchers – An Installative Representation of a Sound Synthesis System
In: Proceedings of the 5th Conference on Computation, Communication, Aesthetics & X. Lissabon: S. 172–181.
Online verfügbar (letzter Zugriff: 27.06.2023)
Daniel Bisig / Ephraim Wegner
JETZT
In: Proceedings of the 5th Conference on Computation, Communication, Aesthetics & X. Lissabon: S. 360–363.
Online verfügbar (letzter Zugriff: 27.06.2023)
Daniel Bisig / Pablo Palacio
Piano & Dancer – Interaction Between a Dancer and an Acoustic Instrument
In: Proceedings of the International Conference on Movement and Computing. London.
Online verfügbar (letzter Zugriff: 27.06.2023)
Giordano, Bruno L.; H. Järveläinen, Hanna; Fröhlich, Martin; Papetti, Stefano; Schiesser, Sébastien
Vibrotactile Sensitivity in Active Touch Effect of Pressing Force.
In: IEEE Trans. Haptics. vol. PP, no.99, 2016.
Online verfügbar (letzter Zugriff: 27.06.2023)
Philippe Kocher
Technology-Assisted Performance of Polytemporal Music
In: Proceedings of the Sound and Music Computing Conference 2017. Espoo, Finnland: S. 133–138.
Online verfügbar (letzter Zugriff: 27.06.2023)
Philippe Kocher
Rhythmische Techniken in der Musik von Elliott Carter
In: Lang, Benjamin (Hrsg.): Lost in Contemporary Music? Neue Musik analysieren. Regensburg: Con Brio, S. 11–54. 2017.
Philippe Kocher
Über die Notwendigkeit technologischer Hilfsmittel in tempopolyphoner Musik
In: Hochholdinger-Reiterer, Beate / Gartmann, Thomas (Hg.): Beiträge der Graduate School of the Arts, Bd. 1, Hochschule der Künste Bern und Universität Bern, S. 53–65.
Marcus Maeder (Hrsg.)
Kunst Wissenschaft Natur. Zur Ästhetik und Epistemologie der künstle-risch-wissenschaftlichen Naturbeobachtung
Bielefeld: Transcript.
Germán Toro Pérez
Líneas de fuga: creación e investigación en las academias de arte
In: Quaranta, Daniel (Hrsg.): Creación musical, investigación y producción académica: desafíos para la música en la universidad. CMMAS, Morelia, Mexiko.
eBook verfügbar (letzter Zugriff: 01.12. 2017)
Germán Toro Pérez / Mouritzen, Ken
Über die Mannigfaltigkeit der Rinde. «24 Variations» von Horacio Vaggione im Kontext einer wahrnehmungsinformierten Analyse elektroakustischer Musik
In: Lang, Benjamin (Hg.): Lost in Contemporary Music.
Regensburg: Con Brio, 2017, S. 173–227.
Jan C. Schacher
Sound Presence, Performing with Bodies and Technologies
Ph.D.-Thesis, Royal Conservatoire, University of Antwerp, Belgien, 2017.
In the last two decades, the question about the role of the body and perception in our engagement with the world has gained centre stage. However, relatively little research is undertaken to investigate bodily presence and inner states of performing musicians. Although music psychology makes great strides in uncovering basic principles and underlying processes of musical perception from an audience viewpoint, the import and contribution of the corporeal presence and the perceptual capabilities of the performer is receiving little attention. With this project I address these questions and construct a field of reference that enables an understanding of musical performance practices centred around the body. I do so by investigating physical performing through the lenses of the body, the instrument, and the performer's awareness, sensations, and perceptions. In order to frame this perspective, I unfold a number of theoretical positions about the constitutive role of the body, perception, and cognition. The resulting insights constitute a field of relationships, which covers the central issues about body, perception, awareness, and presence, and through my interpretation may facilitate the understanding of the fundamental role of the body in music making and listening.
Jan C. Schacher / Angela Stoecklin
Unequal Twins, Asymmetrically Coupled
In: Kaross, Sabine; Schroedter, Stephanie (Hg.): Klänge in Bewegung. Spurensuchen in Choreografie und Performance. Bielefeld: Transcript, S. 143–152.
Jan Schacher und Angela Stoecklin geben in ihrem Beitrag einen Einblick ihre eigene künstlerisch-experimentelle Forschungspraxis, die der Entwicklung und Analyse von Bewegungs-Klangrelationen unter Einsatz von Sensortechnologien dient. Eine grundsätzliche Intention des in diesem Zusammenhang erörterten Projekts bestand darin, ein elektronisches Musikstück zu kreieren, dessen Form, Energie und Dynamik Tanzbewegungen entspringt, die wiederum choreografischen Verfahren unterliegen. Dennoch kommen in dieser Versuchsanordnung keine präskriptiven Anordnungen bzw. Notationen zum Einsatz, stattdessen entwickelt sich das Stück aus dem gemeinsamen Erfahrungsaustausch zwischen dem Musik-Komponisten und der Tänzer-Choreografin, die als asymmetrische Interdependenz charakterisiert wird (Sabine Karoß & Stephanie Schroedter, Hrsg., S. 14–15)
Jan C. Schacher
Trans-Form: Sketches, Experiments, and Concepts in Artistic Creation
In: Coessens, Kathleen (Hg.): Experimental Encounters in Music and Beyond. Leuven: Leuven University Press, S. 83–95.
Is it then the limited flow of information between composer and performer that disables the interpretation of and experimentation with (electroacoustic) materials? Jan Schacher provides a partial answer in the last chapter of this part, “Trans-form”, regarding these interrelations between different artists in a technological constellation from a positive perspective. Collaborative and interdisciplinary work processes and dialogue are at the heart of this project, emerging from the richness at the junction or boundaries between dance, electronic music, real-time motion-graphics, technologically mediated interaction, and scenography. This project opens new spaces for inter-media collaboration in performing arts and at the same time questions the residues or traces such a process leaves behind in both the experiential and epistemic domain (Kathleen Coussens (Editor), p. 14–15).
Jan C. Schacher and Daniel Bisig
Haunting Space, Social Interaction in a Large-Scale Media Environment
Human-Computer Interaction – INTERACT 2017: 16th IFIP TC 13 International Conference, Mumbai, India, 25–29 September 2017.
In: Bernhaupt, Regina; Josh, Anirudha; Balkrishan Devanuj K. et al. (Hg.): Proceedings, Part I. Lecture Notes in Computer Science (LNCS), Cham: Spinger, S. 242–262.
The Immersive Lab is a platform for the development and experience of large-scale audio-visual and interactive media arts. In this article we investigate questions of audience engagement, artistic strategies, and interaction principles, as well as the effects of embodied and social interactions that become evident in this media environment. Using the catalogue of artistic works developed for this platform within the past five years as our material, we carry out qualitative inquiries through interviews and categorisations. The emerging insights generate a clear perspective on the convergence as well as discrepancies between the artist’s intentions and the behaviours of visitors in the media space and allow us to, if not definitively state, then at least speculate about universal aspects that each encounter in the media arts context entails.
Online verfügbar (letzter Zugriff: 27.06.2023)