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Agency: European Commission | Branch: H2020 | Program: RIA | Phase: REFLECTIVE-2-2015 | Award Amount: 2.71M | Year: 2016

Transmitting Contentious Cultural Heritages with the Arts: From Intervention to Co-Production (TRACES) aims to provide new directions for cultural heritage institutions to contribute productively to evolving European identity and reflexive Europeanization. To do so, it deploys an innovative ethnographic/artistic approach, focused on a wide range of types of contentious heritage. Attention to contentious heritage is crucial as it is especially likely to raise barriers to inclusivity and convivial relations, as well as to be difficult to transmit to the public. Transmitted effectively, however, it is potentially especially productive in raising critical reflection and contributing to reflexive Europeanization, in which European identity is shaped by self-awareness and on-going critical reflection. Through rigorous and creative in-depth artistic/ethnographic research, TRACES will provide a systematic analysis of the challenges and opportunities raised by transmitting contentious, awkward and difficult pasts. It will do so by setting up Creative Co-Productions (CCPs) in which artists, researchers, heritage agencies and stakeholders work together in longer term engagements to collaboratively research selected cases of contentious heritage and develop new participatory public interfaces. These will be documented and analysed, including educational research. These interfaces, which include online as well as physical exhibitions and other formats, are part of the significant output planned for TRACES, along with academic publications and a novel reflective Contentious Heritage Manual that will synthesise results to provide directions for future practical reflexive transmission of cultural heritage in Europe. TRACES is a multi-disciplinary team, bringing together established and emerging scholars, and providing high-level expertise, relevant experience and creative energy, to provide a rigorous and innovative approach to the transmission of European cultural heritage.

Schacher J.C.,Zurich University of the Arts
ACM International Conference Proceeding Series | Year: 2015

This article addresses the intersection of technical, analytical and artistic approaches to perceiving and measuring musical movement. The point of view taken is situated between the development and application of technological tools, the design and running of exploratory experiments, and the musical performance moment, where perception of the body and its movements constitutes an integral part of the experience. Through a use-case that is shared with other artists and researchers, a wide range of necessary developments, both conceptually and in software is shown. The tools and the methods generated are juxtaposed with the realisation that movement analysis is merely one possible usage of acquired data. Artistic translations provide alternate ways of generating meaning from movement data, in particular when translating musical actions to pieces that span multiple modalities. With the proposed multi-perspective methodology, ways and means are sketched out that address the inherent multiplicity of domains involved in music performance and perception.

Schacher J.C.,Zurich University of the Arts
ACM International Conference Proceeding Series | Year: 2016

Relating movement to sound in an artistic context demands an understanding of the foundations of perception of both domains and the elaboration of techniques that effectively creates a link with technical means from body to sound. This article explores the strategies necessary in interactive dance work to successfully link movement to sound processes. This is done by reducing the dimensions of the observed elements to the fundamentals and at the same time identifying target dimensions that allow the recreation of an equivalent expression. A categorisation helps to elucidate those elements and characteristics that can be applied and looks at how they are perceived by the audience. The asymmetry that arises when using technical links to generate sound in interactive dance poses the question of dependency and exposes limits and challenges of using technology in this performing arts practice.

Schacher J.C.,Zurich University of the Arts
Leonardo | Year: 2016

The practice of gestural electronic music performance provides a valid context for artistic or practice-based investigations in the field of ‘NIME.’ To this end, the material and conceptual conditions for the development of performance pieces using gestural actions need to be explored. The use of digital musical instruments and concepts for the expressive performance with digital sounds leads to questions of perception-by the musician and by the audience-of movements and actions, the body, the instruments, and of their affordances. When considering this performance mode as a topic for investigation, it becomes evident that in order to be based on practice, research in this field needs a definition and differentiation that helps to identify the specific perspectives that are only made possible through application in an actual artistic practice. © 2016 ISAST.

Schacher J.C.,Zurich University of the Arts
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

What is the relationship between the performer's body, the instrument, the musical actions and their perception by an audience? And how do they relate when the music is generated by abstract digital processes controlled through actions on technical control surfaces, or gestural, tangible interfaces? This article investigates these questions by examining elements and concepts from physiology, the cognitive sciences with an 'enactive' and phenomenological perspective and from the point of view of an artistic performance practice, which brings these elements together on stage. In a broad arc the investigation covers instrumental and perceptual affordances, the physical senses of the body, different levels of awareness, corporeal states and modes of awareness, the senses of agency and intentionality, and the sense of movement inherent to music. Based on these insights, the contradiction between the corporeal space of performance and the abstract, codified domain of the digital sound processes is revealed. By looking at the prevalent metaphors, but also the interaction concepts and models of control and their shortcomings, it becomes evident that they need to be refined, possibly based on the perceptual and corporeal criteria developed here. Copyright: © 2014 Jan C. Schacher.

Kocher P.,Zurich University of the Arts
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

This paper describes the current development of a system designed for the synchronization of musicians in polytempic music. In order to convey the tempo, an animation is used that resembles the gestures of a conductor, which is believed to be particularly comprehensible for musicians. This system offers an alternative to the use of a click track which is still the most common means for the purpose of synchronization. The possibility to combine several devices in a network allows for the synchronization of several players in ensemble music. It is hoped that this system promotes the creation and performance of music that exhibit ambitious tempo polyphony as well as spatial distribution of the musicians. Copyright: © 2014 Philippe Kocher.

Maeder M.,Zurich University of the Arts
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

Since its creation by the composer Brian Eno in 1976, the term ambient has undergone significant change. The musical style ambient has developed into a framework of reception and terminology within which digital electronic music as well as visual art are conceived and received. The term ambient opens up a context of artistic and social practices reflecting a reality that is increasingly transported via and created by media technologies. Using as point of departure biologist Jakob von Uexküll's concept of «Umwelt» which postulates a world-generating context of body, cognition and environment, modern constructions of immanence are examined: Ambient as a sort of mimetic ceremony produces extremely complex yet coherent images of the world. The study develops a phenomenology of the sounds found in current ambient music as well as associations and meanings elicited by them. Ambient is a compound of spaces in which a reflection of the world takes place, created through artistic, social, geographical and increasingly virtual devices. The idea of space as the expansion of thought, enclosing its infinite movements as an absolute horizon is implied by the concept of the plane of immanence proposed by Gilles Deleuze and Félix Guattari. In Ambient, a soundtrack of immanence is created, a polyphonic sound of the environment as we experience it, which renders the world in its diversity imaginable and experienceable. Copyright: © 2014 Marcus Maeder.

Neukom M.,Zurich University of the Arts
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

This text describes the implementation of Ambisonics as user defined opcodes (UDOs) for Csound. The presented package of UDOs includes a basic encoder and a decoder up to 8th order, an encoder with distance correction, an in-phase decoder, opcodes for the two-dimensional equivalent of Ambisonics for any order, opcodes for Ambisonics equivalent panning (AEP) and several utilities such as coordinate converters, Doppler effect and more. Finally the usage of the UDOs is explained in some examples. Copyright: © 2014 First author et al.

Gaissmaier W.,Max Planck Institute for Human Development | Wegwarth O.,Max Planck Institute for Human Development | Skopec D.,Zurich University of the Arts | Muller A.-S.,Zurich University of the Arts | And 2 more authors.
Health Psychology | Year: 2012

Objective: Informed medical decision making requires comprehending statistical information. We aimed to improve the understanding of conveying health-related statistical information with graphical representations compared with numerical representations. First, we investigated whether the iconicity of representations (i.e., their abstractness vs. concreteness) affected comprehension and recall of statistical information. Second, we investigated whether graph literacy helps to identify individuals who comprehend graphical representations better than numerical representations. Method: Participants (N = 275) were randomly assigned to receive different representations of health-related statistical information, ranging from very low iconicity (numbers) to very high iconicity (icon arrays including photographs). Comprehension and recall of the information were assessed. Additionally, participants rated the accessibility of the information and the attractiveness of the representation. Graph literacy was assessed by means of a recently developed scale. Results: The only difference between representations that affected comprehension and recall was the difference between graphics and numbers; the actual level of iconicity of graphics did not matter. Individuals with high graph literacy had better comprehension and recall when presented with graphics instead of numbers, and they rated graphical information as more accessible than numerical information, whereas the reverse was true for individuals with low graph literacy, F(4, 185) = 2.60, p = .04, ηp2 = .05, and F(4, 245) = 2.71, p = .03, ηp2 = .04, respectively. Both groups judged graphical representations as more attractive than numerical representations. Conclusion: An assessment of graph literacy distinguished individuals who are best informed with graphical representations of statistical information from those who are better informed with numerical representations. © 2011 American Psychological Association.

Brunner C.,Zurich University of the Arts
AI and Society | Year: 2011

Most academic publications refer to Parkour as a subversive and embodied tactic that challenges hegemonic discourses of discipline and control. Architecture becomes the playful ground where new ways to move take form. These approaches rarely address the material and embodied relations that occur in these practices and remain on the discursive plane of cultural signifiers. A theory of movement between bodies as the founding aspect of Parkour unfolds alternative concepts of body, space, time and movement beyond the discursive. Movement becomes the leitmotif for a re-conceptualization of the relations between subjects and objects and abandons their division. With the example of Parkour, I will challenge anthropocentric approaches toward embodiment and instead foreground open-ended shifting configurations of places and their relation to movement. Parkour re-shapes rigid concepts of places and their human encounter through movement. Through its encounter with obstacles Parkour activates the silent potential for movement located in the relation between bodies and thus reaches beyond material boundaries (e. g., a wall). As a deterritorializing practice, I will use Parkour to re-consider the relations between different bodies such as architectural configurations, subjects and their urban ecologies to develop a relational model for movement to shape our everyday encounters with matter. © 2010 Springer-Verlag London Limited.

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