MCT Opening Seminar

The official opening of the new Music, Communication and Technology Master's programme.

Time What
11.00-12.00

MCT Opening

12.00-13.00 Lunch and refreshments
13.15-15.00

MCT Seminar

 

Seminar Abstracts

Initial meetings with new technology: 'the ultimate unifier?'

Arild Boman, University of Oslo

Abstract: New post-WW2 communication technologies in the 1960s, like video, computers, VR, satellite/cable networks, were marketed and celebrated by industry and establishments as 'revolutions','unifiers of mankind', etc. But also met by strong rejection and 'technophobia' from the rising counter-cultures, including academic and political criticism. Even of empirical experimentation with such technologies, as 'distractions' from the struggles of the working class. As the development provided possibilities of studying initial encounters with the new technologies, series of such studies were carried out at the University of Oslo from the 1960s, and leading to the inter-disciplinary MediaCulture network, (later the present Kunnskapskanalen (Knowledge Channel)). An important part were experimentations with artists' first encounters with one-way and interactive net- and satellite systems, including audio, visual and kinetic/ballet communication from 1973-, leading to a model of different strategies, like principles of composition. In music, western classical musicians, jazz musicians, third world (Jamaican rasta) roots musicians, and children's singing between Nairobi and Oslo were included. The experimentation showed that though the new systems were efficient providers of one-way communication, it indicated grave problems, even excommunication due to inherent transformations/ delays in such systems, like in the temporality of acts in parallel two-way communication. They also indicated that non-western cultures may be more capable of dealing with such systemic antinomies than the western one producing and controlling that technology. Later general 'technosophy', even in arts, has celebrated new possibilities, but not solved such basic problems in intended or incidental new net-based 'world culture'. The experimentation was stressing equipments to their limits, and various recording tapes are now difficult to replay during restoration. Here we will concentrate on experimentation with music students' initial encounters with playing chamber music via net-, their realizing of technological systematic distortions of their playing-, and their ways of trying to overcome them. And consider the empirical relevance of some of the initial hypotheses and principles of composition in net-based systems.

Bio:Arild Boman, associate professor emeritus, sociologist, musician: recordings with Public Enemies, Jan Garbarek, Karin Krog, George Russell; first works into video and computer art from the1960s; satellites, holography, VR (w/Erkki Kurenniemi), from the 70s. Composer, theater: including Ibsen plays; film: Hurra for Andersen, Red-Blue Paradise; tv: Interludium, (w/S.E.Børja, new tv-language), Pompel&Pilt, Diade. Started the video art teaching at the State Academy of Art 1974, and the first African video art workshop, Lagos 1977. Research stays at Schaeffer's labs, Paris 1970, and UC Berkeley, 2005. Works presented at Biennale de Paris 69, World Exhibition, Hannover 2000, VR at Biennale di Venezia 2003, Documenta 2012, National Museum: I Wish This Was A Song 2012/13. Worked in Telenor longterm planning, and Norwegian state media commission, 70s/80s, Conductor of experimentation in residents' use of their own internal cable nets in several countries from the 80s. Conductor of MediaCulture interdisciplinary research network and studio/labs, UiO, from the 70s, now coordinator Kunnskapskanalen (Knowledge Channel), transmitting universities' programs via NRK.

Telematic Performance: On-dislocation

Ximena Alarcón, University of Oslo

Abstract: In this talk I will share my experience in creating telematic sonic performances using long-distance bi-directional transmission of sound through the Internet: a mediation that strengthens metaphors of migration and dislocation. From this experimental, compositional and collaborative art practice, inspired by Pauline Oliveros’ Deep Listening, my art research has evolved into the creation of INTIMAL: an embodied physical virtual system for relational listening. INTIMAL interrelates body movement, vocal expression, memory and sense of place in a telematic system, expanding the technical possibility of 'streaming sound' to the one of 'sensing vibrations', in the distance. The system is being informed by a group of Colombian Migrant Women living in three European cities, involved in a fieldwork that uses Deep Listening and Embodied Music Cognition methods. INTIMAL is using technologies that augment and inter-relate feelings, body movements, and vocal expression in migratory contexts, for people to playfully improvise their migratory journeys, finding connections with themselves and others, physically and virtually, opening paths for healing.

Bio: Ximena Alarcón (BA, MA, PhD) is a sound artist researcher interested in listening to interstices: dreams, underground public transport, and the migratory context. Her research focuses on the creation of sonic telematic performances and networked environments to expand our sense of place, using Deep Listening, telematic improvisation with field recordings and spoken word, and interfaces for relational listening. She has a PhD in Music, Technology and Innovation (De Montfort University), and has been a Leverhulme Trust postdoctoral researcher at the IOCT - Institute of Creative Technologies (DMU) and a Research Fellow at CRiSAP -Creative Research into Sound Arts Practice (LCC-UAL). She is now a Marie Skłodowska Curie Individual Fellow 2017-2019 at RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology at the University of Oslo, developing her project INTIMAL.

Art and Technology at NTNU – Case: Adressaparken in Trondheim

Andrew Perkis, NTNU

Abstract: Digital storytelling is at the heart of new digital media and the ability to tell stories in various formats for multiple platforms is becoming increasingly important. The drive today is towards creating immersive and interactive digital stories for a diversity of services and applications, spanning from pure entertainment through art, edutainment and training towards digital culture and destinations. The case study will evolve around how one can use sensors and actuators to tell digital stories and its impact the participants. The case study will be from Adressaparken – an interactive installation park – being developed in Trondheim as a platform for sensor based digital storytelling. Adressaparken is a public park of around 1300 square meters surrounding the head office of the local newspaper – Adresseavisen. In 2014, the municipality of Trondheim Adresseavisen and NTNU agreed to collaborate on designing this park as an interactive installation park creating a public arena for projects exploring the convergence of art, media and technology. The driving force was to provide the city and its citizens with an arena for artistic experiences, development of knowledge and a site for societal debates, and in this way, contribute to strengthen and make visible the knowledge/culture city of Trondheim.

    Bio: Andrew Perkisreceived his Siv.Ing and Dr. Techn. Degrees in 1985 and 1994, respectively. In 2008 he received an executive Master of Technology Management in cooperation from NTNU, NHH and NUS (Singapore). He has been with NTNU since 1993 and currently holds a chair within Media Technology. His current research focus is within the synergies of art and technology, methods and functionality of content representation, quality assessment and its use within the media value chain. His application focus is on art in public spaces, sensor based digital storytelling and business modelling for the creative and media industry. He was one of the founding authors of the concept of Universal Multimedia Access (UMA) and Quality of Experience (QoE). He is coordinating ARTEC at NTNU, a task force for setting up directions and visions for new research within art and technology as well as directions for innovations in Immersive Media Technology Experiences. He has been involved in the start-up company Adactus and commercial aspects of Digital Cinema role out through running the Norwegian trial project NORDIC. He is currently board member of NxtMedia a nationally funded industry consortium working for the media sector in developing new ways of digital publishing, GAMI – WAN-IFRA Global Alliance for media innovation and NEM – New European Media a European Technology Platform. Currently he is Principle Investigator for NTNU in H2020–ITN-QoE-Net. He is member of The Norwegian Academy of Technological Sciences (NTVA), senior member of the IEEE, member of ACM, member of The Norwegian Society of Chartered Engineers.

    Immersive technologies in education and training

    Ekaterina Prasolova-Førland, NTNU

    Abstract: Immersive technologies, as an umbrella term for virtual, augmented reality and mixed reality (VR/AR/MR), have had an explosive development in recent years and open great opportunities in the context of education and training. Hardware and software are becoming more available and affordable. As learning environments, these technologies afford immersive, adaptive and explorative learning spaces, well suited for developing high-impact pedagogies. This talk provides an overview of cross-disciplinary research and education activities at the Innovative Immersive Technologies for Learning group (IMTEL) and VR/AR lab at NTNU Dragvoll, including cross-campus collaboration in VR.

    Bio: Ekaterina Prasolova-Førland is Professor at the Department of Education and Lifelong Learning at NTNU. She has been working with educational virtual worlds and immersive technologies since 2002, with nearly 100 publications in the field. She has been involved in developing educational virtual reality simulations for a wide range of stakeholders, from aquaculture industry to the Norwegian Armed Forces. Ekaterina has founded and is leading Innovative Immersive Technologies for Learning (IMTEL) research group and 'Lifelong learning' VR lab at Dragvoll, as well as '4 campuses 1 reality' initiative with the goal of connecting the distributed campuses of NTNU with a network of VR labs. She is founder of Women in VR/AR Norway and frequently gives public speeches and interviews on immersive technologies for learning and training. She is currently leading the development of innovative VR/AR solutions for the Norwegian Labour and Welfare Administration to assist and empower young job seekers. She is also working on a number of projects on educational applications of immersive technologies in medicine, sports, therapy, career guidance, collaborative work, emergency management and other areas.

    Tags: Music, Communication, Technology
    Published Aug. 15, 2018 9:45 PM - Last modified Aug. 24, 2018 7:05 PM