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  • 1.
    Andersson, Anders-Petter
    Högskolan Kristianstad, Sektionen för hälsa och samhälle.
    Interaktiv musikkomposition2012Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.

  • 2.
    Andersson, Anders-Petter
    et al.
    The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Designing empowering vocal and tangible interaction: 2013Inngår i: The International conference on new interfaces for musical expression / [ed] Kyogu Lee, Kaejeon, Korea: Seoul National University , 2013, 406-412 s.Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Our voice and body are important parts of our self-experience, and our communication and relational possibilities. They gradually become more important for Interaction Design due to increased development of tangible interaction and mobile communication. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible media. We build on the use of voice in Music Therapy and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that through use reduce isolation and passivity and increase empowerment for the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 3.
    Andersson, Anders-Petter
    et al.
    Institute of Design, The Oslo School of Architecture and Design.
    Cappelen, Birgitta
    Institute of Design, The Oslo School of Architecture and Design.
    Vocal and tangible interaction crossing borders2013Inngår i: Include Asia 2013 Proceedings: global challenges and local solutions in inclusive design, Conference on inclusive design / [ed] Jeremy Myerson, London: Helen Hamlyn Centre of Design, The Royal College of Art in London, The Hong Kong Design Centre , 2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for ICT, due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the Universal Design field. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 4.
    Andersson, Anders-Petter
    et al.
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Hälsovetenskap II. Högskolan Kristianstad, Forskningsplattformen Hälsa i samverkan.
    Cappelen, Birgitta
    Oslo School of Architecture and Design.
    Vocal and tangible interaction in RHYME2014Inngår i: Music, Health, Technology and Design / [ed] Stensæth, Karette, Oslo: Norwegian Academy of Music , 2014, 21-38 s.Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience for all of us. They are also essential for our way to communicate and build relations cross borders such as abilities, ages, locations and backgrounds. Voice, body and tangibility gradually become more important for Information and Communication Technology (ICT), due to increased development of tangible interaction and mobile communication. The voice and tangible interaction therefore also become more important for the fields of Assistive Technology, Health Technology and Universal Design. In this paper we present and discuss our work with voice and tangible interaction in our on-going research project RHYME. The goal is to improve health for families, adults and children with disabilities through use of collaborative, musical, tangible and sensorial media. We build on use of voice in Music Therapy, knowledge from multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible interactive media that are sensorially stimulating. Interactive media that through use, can reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross-media techniques, to create rhythms, melodies and harmonic chords to stimulate voice-body connections, positive emotions and structures for actions.

  • 5.
    Andersson, Anders-Petter
    et al.
    Högskolan Kristianstad, Sektionen för hälsa och samhälle. Högskolan Kristianstad, Forskningsplattformen Hälsa i samverkan.
    Cappelen, Birgitta
    The Oslo School of Architecture and Design.
    Vocal and tangible technology for music and health2013Inngår i: Book of abstracts: setting the tone: cultures of relating and reflecting in music therapy / [ed] Gro Trondalen, Oslo: The Norwegian Academy of Music , 2013, 24-24 s.Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Our voice and body are important parts of our self-expression and self-experience. They are also essential for our way to communicate and build relations cross borders like abilities, ages, locations, backgrounds and cultures. Voice and tangibility gradually become more important when developing new music technology for the Music Therapy and the Music and Health fields, due to new technology possibilities that have recently arisen. For example smartphones, computer games and networked, social media services like Skype. In this paper we present and discuss our work with voice and tangible interaction in our ongoing research project. The goal is to improve health for families, adults and children with severe disabilities through use of collaborative, musical, tangible sensorial media. We build on use of voice in Music Therapy and studies by Lisa Sokolov, Diane Austin, Kenneth Bruscia and Joanne Loewy. Further we build on knowledge from Multi-sensory stimulation and on a humanistic health approach. Our challenge is to design vocal and tangible, sensorially stimulating interactive media, that through use reduce isolation and passivity and increase empowerment for all the users. We use sound recognition, generative sound synthesis, vibrations and cross- media techniques, to create rhythms, melodies and harmonic chords to stimulate body- voice connections, positive emotions and structures for actions. The reflections in this paper build on action research methods, video observations and research-by-design methods. We reflect on observations of families and close others with children with severe disabilities, interacting in three vocal and tangible installations.

  • 6.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Hälsovetenskap II. Högskolan Kristianstad, Forskningsplattformen Hälsa i samverkan.
    Designing four generations of 'Musicking Tangibles'2014Inngår i: Music, Health, Technology and Design / [ed] Stensæth, Karette, Oslo: Norwegian Academy of Music , 2014, 1-20 s.Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    n this article we present a novel approach for the understanding and the design of interactive health improving music technology, what we call Musicking Tangibles. The Musicking Tangibles approach represents an alternative approach to the traditional instrument, interface and switch-oriented music technology perspective. Our approach combines a humanistic, resource and empowerment oriented health approach with an aesthetic and culture based design approach towards music technology. We present four empowering and health improving qualities for the Musicking Tangibles. These qualities emphasize to: 1) Continually evoke interest and positive emotions relevant to diverse users’ interpretation of the tangibles and the situation; 2) Dynamically offer the users many roles to take, many musicking actions to make and many ways to express themselves; 3) Offer the users aesthetically consistent responses and build relevant cross-media expectations and challenges over time and space, consistent with their character; 4) Offer the users many relations to make: to people, things, experiences, events and places. Further we present and argue for some design solutions of the Musicking Tangibles ORFI, WAVE, REFLECT, and the POLLY World from the RHYME-project. In developing POLLY we have tried to put together as many design qualities as possible, to exemplify our view and current understanding.

  • 7.
    Cappelen, Birgitta
    et al.
    Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Institute of Design, The Oslo School of Architecture and Design.
    The empowering potential of re-staging2012Inngår i: Leonardo Electronic Almanac, ISSN 1071-4391, E-ISSN 1071-4391, ISSN 1071-4391, Vol. 18, nr 3, 132-140 s.Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this paper we present and discuss the empowering potential of restaging interactive art installations. We build on an approach, where wedivide the staging process into four levels of staging (potential, strategic,tactical, dynamic), and in Umberto Eco’s sense open, to four categories ofchoices (genre, temporal, spatial, actorial) to perform on each staging level. We present and discuss how we staged one of our interactive installations at a museum of modern art and a rehabilitation centre for people with severe disabilities. We discuss our staging experience in relation to empowering qualities like; possibilities for self-expression, vitalization, ability to act, co-create, participation and mutual relation building. Our experience was that re-staging art at a radically different place became a provocation that re-vitalized us as creative individuals.

  • 8.
    Cappelen, Birgitta
    et al.
    Institute of Design, The Oslo School of Architecture and Design.
    Andersson, Anders-Petter
    Institute of Design, The Oslo School of Architecture and Design.
    Towards an empowering tangible interaction design for diversity2013Inngår i: Include Asia 2013 Proceedings: global challenges and local solutions in inclusive design, Conference on inclusive design / [ed] Jeremy Myerson, London: The Helen Hamlyn Centre for Design, The ROyal College of Art in London, Hong Kong Desing Centre , 2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The seven principles of Universal Design, such as ”4. Perceptible Information” and ”5. Tolerance for errors”, are formulated from the design’s or system’s perspective. The principles focus on the qualities of the system or design, not on the value of use, the long time experience and use by many different people. Nor do the principles embrace a cultural and social understanding of the value of things, designs and situations. In this paper we argue for the necessity to broaden this narrow system or product design perspective, when designing to empower diverse users. Our field of study is musical and cross-media Tangible Interaction Design, where multimedia computer capabilities are included in everyday objects. Our goal is to motivate social and musical co-creation for families with disabled children to improve their health and quality of life. To extend our design thinking, practice and understanding of a design’s value, meaning and empowering potential, we build on a humanistic health approach, resource-oriented thinking, Positive psychology and Empowerment philosophy. In the paper we present and discuss how we design cross-media, interactive, tangible and musical things to motivate and empower a variety of users in our on-going RHYME project.

  • 9.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Bring the noise2013Inngår i: International Journal of Art, Culture and Design Technologies, ISSN 2155-4196, Vol. 3, nr 1, 26-35 s.Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article the author will present how they developed different processes for collectively producing a seriesexplorative soundscapes and mechanical artefacts using specific constraints influenced by theories from artand architecture. The author will show how they worked with a design methodology that brought togetheran editor and the final expression of the artwork into one surface of interaction and execution using a virtualcityscape as an iterative ground for sound and music explorations, and give some examples of the differentprototypes and iterations. The author will also discuss how they tweaked/iterated with the parameters of the framework, the sounds and the final visual expression to match their artistic intention, and finally to bringsome noise into Abadyl. Also influencing the overall framework.

  • 10.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Ideal spaces exhibition2017Inngår i: ArtsIt2017, 2017Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Through the years we have worked with  the idea of gestalt through artefact creation (including virtual objects and 3D-worlds) as one surface to explore, exploit, test and communicate our ideas and concepts, that are generative rather than produced, where we try  to grasp systematic insights through complex generated realities, in which an audience later is invited to interact.  In our Ideal spaces exhibition for the 2016 Biennale in Venice, we tried to explore this via a combination of presenting ideal city spaces, active participation of the visitors molding their own spaces, and symbolic representation. Ideal Spaces is also a high-tech project that uses diverse technologies in new ways, also new techniques and programming developed by us. In this paper, we show the theoretical and cultural background, and some lessons learned, regarding on what level of abstraction a visitor could interact with our exhibition to better understand how visitors created their own ideal spaces.

  • 11.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Soundscaping2017Inngår i: Enhancing art, culture, and design with technological integration / [ed] Mehdi Khosrow-Pour, Hershey, Pennsylvania 17033-1240, USA: IGI Global , 2017Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 12.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    The people´s smart sculpture PS22016Inngår i: ISEA 2016: Journey to Abadyl / [ed] Martin Koplin, 2016Konferansepaper (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    The People’s Smart Sculpture (PS2) panel discusses future oriented approaches in smart media-art, developed, designed and exploited for artistic and public participation in the change and re-design of our living environment. The actual debate about a smart future is not taking into account any idea of media art as an instrument for to realize the social sculpture, mentioned by Beuys[1] or as social sculpture itself.

    The People’s Smart Sculpture is the only large scale Creative Europe media-art project (2014-2018) in this context. It fosters participative-art and collaborative media-art-processes. The artistic results and the open approaches of the project will be discussed by 5 panelists from 5 countries. The project itself is constituted by 12 project-partners in 8 European countries with more than 350 artists and creatives from 29 countries worlwide. The approach works on two levels: the implementation of cultural participation-projects by media-artists and the ongoing optimization of the art and participation aspects. PS2 integrates diverse groups of people to participate in the non-institutional set up of structures for the people´s re-design of their urban, societal and living environment. Artists, citizens, creatives with a new user's perception and new skills are able to „medialize“ the Cultural R>evolution of art, culture, society and science: into spaces of a new public.

  • 13.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Wanderlost2014Inngår i: Cyberworlds (CW), 2014 International Conference, 2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper I will discuss a art and design project called wander lost, were we through co-creation try to populate a virtual world with people, objects and architecture. In this project we have developed a method for gathering input and inspiration for early stages in the design process designing virtual worlds. I will through some example of work show how worlds, real and virtual are as much made as found, and how they can be used to challenged each other into new forms of experiences and expressions, of both physical and virtual spaces. Where the virtual space transformed into maps & instructions can challenge the physical with qualities that is very hard to achieve in the physical world itself, and in that conflict new insights and expressions can revealed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well, wander lost support that process. We show how we from the virtual settings of the city of Traora we have extracted a series of walks as instructions and invited different co-creators to explore these algorithmical walks in their everyday surrounding in order to be surprised by rediscovery, using a digital camera/smart phone to capture and later communicate their findings. Allowing the unfamiliar to co-exist with the comfortably familiar. To create a process where digital worlds challenge and inspire digital expressions, tools and models with physical play and exploration. Supporting our long-term aim with research in new media is to set up design methods that can be used in a creative and collaborative process. We show how these findings played a crucial role designing the virtual city Traora. The Traora Flaneur kit turns everyday walks into discoveries of both urban contexts as well as ideas for possible virtual worlds.

  • 14.
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Wanderlost2015Inngår i: Analyzing art, culture, and design in the digital age / [ed] Gianluca Mura, Hershey, Pensylvania: IGI Global, 2015, 71-78 s.Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this chapter I will discuss a art and design project called wanderlost, were we through co-creation try to populate a virtual world with people, objects and architecture. In this project stages we have developed a method for gathering input and inspiration for early stages in the design process designing virtual worlds. I will through some example of work show how worlds, real and virtual are as much made as found, and how they can be used to challenged each other into new forms of experiences and expressions, of both physical and virtual spaces. Where the virtual space transformed into maps & instructions can challenge the physical with qualities that is very hard to achieve in the physical world itself, and in that conflict new insights and expressions can revealed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well, wanderlost support that process. We show how we from the virtual settings of the city of Traora we have extracted a series of walks as instructions and invited different co-creators to explore these algorithmical walks in their everyday surrounding in order to be surprised by rediscovery, using a digital camera/smartphone to capture and later communicate their findings. Allowing the unfamiliar to co-exist with the comfortably familiar. To create a process where digital worlds challenge and inspire digital expressions, tools and models with physical play and exploration. Supporting our long-term aim with research in new media is to set up design methods that can be used in a creative and collaborative process. We show how these findings played a crucial role designing the virtual city Traora. The wanderlost method turns everyday walks into discoveries of both urban contexts as well as ideas for possible virtual worlds.

  • 15.
    Johansson, Michael
    et al.
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Gehmann, Ulrich
    Tyskland.
    Ideal spaces: digital-cultural ecology and the medium-sized city2016Inngår i: Digital-cultural ecology and the medium-sized city / [ed] S. Sparke & G. Cairns, 2016, 5- s.Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In our working group Ideal Spaces we are concerned with mediated worlds: especially the one of ideal worlds reconstructed, mainly concentrating on a classical topic of a “mediated” city through history, namely that of a utopian ideal city. How these utopian places have to be conceived as being ‘ideal’ ones. How this has been mediated, in terms of their modes of presentation, but also in those of the ideas underlying them as regards the different audiences that were thought to be addressed by them?

    These historical conceptions of what an ‘ideal world’ should, or could be is a classical topic of our cultural sphere, and focuses upon one perspective of relevance, that of an ideal city. The latest since the onset of what has been called ‘modernity’, now providing the actual background of the actually built cities we all live in, as our environment of relevance.

    Such conceptions of ‘ideal’ relevant worlds can be compared, as a background folio, with the approaches towards an ‘ideal’ environment as they become evident in the concept of The City of Abadyl. That in itself is a proposed city, a fantasy, a set of codes and models, a library of artefacts and prototypes, and foremost, it is its co-creators. Since its inception in 1999 it has grown into a large database of materials interlinked through the shape of a city, regardless of their respective incompatibilities. Support and create a geatlt for inquary

    Our approach is to create an environment which facilitates artistic work practice in complex production environments such as those of digital media, supporting invited artists, researchers, companies, and students. We establish a ready-made, fictitious gravity that others can easily transfer their knowledge into. So How do we go about exploring this complex digital space? We could let people walk the streets of Abadyl in for example a game engine, but we have so far chosen to go in another direction. We have used the framework of Abadyl to stage different events in the form of written scenarios that provide detailed and specific background material. Our scenarios try to bring aspects of field study and fantasy together, to slowly create a discrete dynamic tension or displacement between persons, objects, time, places, and events that are not usually, if ever, associated into new and surprising conjunctions. Through this work we have developed several methods of worldmaking. The aspect of imagery is of particular importance here since comparisons can be made between traditional conceptions of pre-planned ideal worlds – e.g., the ideal of a functionalist city, of a typically ‘modern’ one, etc. – and imageries that evolve de novo and unplanned, as it is tried in the case of Abadyl.

    Moreover, such comparisons inform about a further aspect of imagery and hence, of being mediated. We have to take the notion of the ideal in both its connotations as a mental or inner image on the one hand (from the Greek eidos, or idea); and on the other, as a perfect state to be achieved and longed for (the ideal in its common terms of understanding). If we do so, then it becomes evident that even seemingly ‘new’ and ‘spontaneous’ outcomes like those in Abadyl are informed by mental or ‘inner’ images deeply rooted in what is called a cultural memory, that is, rest on a culture-specific substratum. And it is very interesting to see how these both layers of imagery, the “new” and the “old” one, are influencing each other in mutual terms. Which is a very important topic of mediated cities today since the assumption is that what is happening in Abadyl is also happening here.

  • 16.
    Johansson, Michael
    et al.
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Gehmann, Ulrich
    Tyskland.
    Reiche, Martin
    Tyskland.
    Gestalt2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Many disciplines have the culture and nurturing to explore, create, and tell stories about worlds. Therefore, our contribution is about the re-discovery of an idea that has been crucial in occidental thinking and which became underestimated: the notion of gestalt. To conceive real-world (and other) phenomena in terms of gestalt helps to gain a holistic understanding of them, and the aim of our paper therefore is to promote a method to rediscover the world in a less analytical fashion than it has been done in the last 400 years, after an analytical-based perception of reality gained ground with the scientific method developed in the 17th century and later. At the same time, a gestalt-approach helps to reframe (and better understand) recent technological developments as outcomes of an analytical way of thinking. Because analysis and the shaping of processes and entities according to functionalities is not the only or most suitable way to generate understanding, despite we got used to such a general state of mind.

    To conceive the world primarily in analytical terms or as a set of functions became culturally accepted. A gestalt-approach can be a promising complement to the prevalent analytical approaches, and the general benefit of such an approach lies in the use of comparative methods to create knowledge or design processes. Also borrowing ideas from Design Theory where Gestalt is analogous to a design process, we can view it as a process of knowledge acquisition and learning from the previously unknown.

    Gestalt perception as well as -conception helps to develop another kind of epistemology than the prevalent analytical/functional one, as for instance cybernetics, system theories and bioengineering already demonstrated. It transcends the border between real and virtual towards envisioning a complete reality, and out of that proves to be a method of working with unknown phenomena.

  • 17.
    Johansson, Michael
    et al.
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Åberg, Kristoffer
    Against the self-evident2014Inngår i: Real virtuality: about deconstruction and multiplication of world / [ed] Ulrich Gehmann, Martin Rieche, Berlin: Transcript Verlag, 2014, 419-441 s.Kapittel i bok, del av antologi (Fagfellevurdert)
  • 18.
    Karlsson, Rasmus
    Högskolan Kristianstad, Sektionen för hälsa och samhälle.
    Spelares upplevelser i datorspel: grafikkvalitet kontra spelatmosfär2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Ett område inom digital design som börjat få mer uppmärksamhet är upplevelsedesign. Godanvändbar design är viktigt men människor har ett växande behov av att bli underhållna ochengagerade genom digitala medier. Det har blivit mer relevant på senare tid då datatekniskaprodukter och tjänster blir allt vanligare i samhället. Framförallt är det i hem- och fritidsmiljöersom det blivit vanligare. En naturlig följd av utvecklingen är att datorspelsbranschen växer. Den ärnu i samma storlek som filmindustrin och det har blivit lika vanligt att spela datorspel som att tittapå teve. Forskning om datorspel och spelupplevelse är därför intressant i närliggandeämnesområden såsom upplevelsedesign och interaktionsdesign. Det kan bland annat tillföra utökadkunskap om att på bättre sätt skapa engagemang och motivera handling.Något intressant med datorspel är fokuset på allt högre grafikkvalitet. Vi kommer kanske inom ensnart framtid ha mycket svårt att skilja mellan grafik och verklighet. Frågan är hur denna utvecklingska betraktas? En del menar att det är negativt eftersom att andra spelelement får mindre fokus ochprioritet. Ett sådant spelelement är spelatmosfär. Spelatmosfär är ett spelelement som på senare tidblivit allt mer universell och neutral för att passa en bredare spelardemografi.För att bedöma utvecklingen i datorspelsbranschen undersöktes hur spelupplevelsen påverkas avgrafikkvalitet och spelatmosfär. Resultaten tyder på att utvecklingen i datorspelsbranschen kanbedömas som förnuftig och logisk. Samtidigt tyder resultaten på att det finns alternativa vägar föratt skapa lika god spelupplevelse. Ett av dessa alternativ illustreras i slutet av arbetet i form av ett designförslag.

  • 19.
    Koplin, M.
    et al.
    Tyskland.
    Vistica, O.
    Kroatien..
    Johansson, Michael
    Högskolan Kristianstad, Sektionen för hälsa och samhälle, Avdelningen för Design och datavetenskap.
    Nedelkovski, I.
    Makedonien.
    Salo, K.
    Finland.
    Eirund, H.
    Tyskland.
    Schrank, C.
    Tyskland.
    Blau, L.
    Tyskland.
    SOCIAL ART IN EUROPEAN SPACES - AN APPROACH TO PARTICIPATION METHODOLOGIES WITHIN PS22016Inngår i: INTED 2016: 10TH INTERNATIONAL TECHNOLOGY, EDUCATION AND DEVELOPMENT CONFERENCE / [ed] Chova, LG Martinez, AL Torres, IC, 2016, 1690-1699 s.Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The People's Smart Sculpture PS2 - Social Art in European Spaces is a creative research and innovation project about the cultural evolution of the European city of the future. It addresses the growing complexity of life in today's city spaces and imminent challenges to the development of the urban environment. The People's Smart Sculpture PS2 explores the possibilities of participation that will become a smart culture technique as a result of the ongoing digitalization of society. 12 partners including universities, educational institutions, museums, galleries, theatres and research institutes in 8 European countries will organize 11 connected open labs integrating new art, design thinking, science, smart technologies and user culture for the participatory re-design of urbanity. The project has a budget of 2 million Euros and is funded by the European Commission within the Creative Europe programme for 3.5 years. 11 creative experiments in participatory art and design for the city of the future: The 12 project partners implement 11 experimental sub-projects and a European study about new forms of participation. While some PS2 sub-projects shed light on the ways we perceive our city space, or create speculative city environments, others will analyse problems, identify challenges and explore interdisciplinary solutions with citizens. The variety of approaches will reflect the diversity of people, skills, urban art, social processes and urban development. Renowned artists and designers from 29 countries will participate in the sub-projects. PS2 will explore and document new strategies for involving digital media and ICT in the development of user-centred culture. Development of new forms of participation for Smart Cities: Scientists from media-labs, computer science, cultural science, art history, sociology, architecture, design and urban planning will engage with the creative processes. Digital technologies will not only play an important role in the PS2 project art activities themselves, but directly support the innovation process by offering new opportunities for empowerment and societal integration of people of all social groups. The project will connect people and foster the exchange of ideas about and for smart cities. It is the base for cutting-edge communication between science and art, creatives, artists, media designers and citizens, and between the people and their governments. At the same time it will motivate the broad dissemination of new skills, design expertise and social knowledge relevant to urban re-design. Citizen participation in urban development and re-design has a long cultural tradition in Europe. But the rising complexity out of social issues, critical and creative ideas, green development, and at the same time a high level of demands towards a post-modernistic cultural evolution evoke the need of improved cooperation between all stakeholders in town: governmental entities, creative, and social cultural activists, experts and citizens. The participation processes needed for future activities in the field of urban-social sustainability requires an enhanced approach to citizen participation and user-friendly creative articulation. It is required to access the full potential of the new capabilities of communication, networking, social media, creativity, microcomputers, and new e-skills through the design of new participation methodologies. Art and media art prototype the next step concepts and methodologies for participation. This paper describes concepts and approaches of participation and reflects on participative art within examples of 6 PS2 sub-projects.

  • 20.
    Sundén, Karin
    Högskolan Kristianstad, LärandeResursCentrum.
    Textile printing at Rorke's Drift - design and cultural interaction2006Inngår i: Design and evolution: proceedings of Design History Society conference 2006 / [ed] De Rijk, Timo & Drukker, J. W., Delft: Delft University of Technology , 2006Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The development of screen printed cloth at the Swedish Evangelical Lutheran Church Art and Craft Centre at Shiyane in KwaZulu enterprise that was intended to improve the lot of rural African women by developing their creative capacities. One aspect of the venture included the development of printed cloth. The intention was to produce a product that was marketable both nationally and internationally. In the process the cloth both absorbed the Swedish predilections of the Konstfack trained tutors, as well as embracing indigenous propensities and taste. The product of this cultural interface interaction resulted in a remarkable product that indigenised both exoticism in the Nordic regions as much as it implanted Nordic taste in South Africa. This paper scrutinises the product, its history, its inter-cultural roots and its reception.

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