Franziska Schroeder
Datos Biográficos
| ID | 1378968 |
|---|---|
| NOMBRE | Franziska Schroeder |
| NOMBRES | Franziska |
| APELLIDO | Schroeder |
| FIRMA | SCHROEDER F |
| AFILIACIONES | Queen's University Belfast |
| ORCID | 0000-0001-9176-5276 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 10 |
| TOTAL DE CITAS | 0 |
| TOTAL COMO AUTOR | 10 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2005 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 0 |
Exploring the Opportunities of Haptic Technology in the Practice of Visually Impaired and Blind Sound Creatives
Visually impaired and blind (VIB) people as a community face several access barriers when using technology. For users of specialist technology, such as digital audio workstations (DAWs), these access barriers become increasingly complex—often stemming from a vision-centric approach to user interface design. Haptic technologies may present opportunities to leverage the sense of touch to address these access barriers. In this article, we describe a…
Improvisation/Indeterminacy
Music Improvisation and Social Inclusion
An invited, edited, double special issue for Routledge's "Contemporary Music Review" Journal (chief editor Prof Nelson). The issue is co-edited with Dr Samuels (Queen's University Belfast) and Dr Caines (University of Regina). The contract has been issued. The call went out on 1 February 2018, with over 75 proposals received. Final chapters were shortlisted and invited for a November 2018 deadline, with the envisaged final publication print-ready…
Performance without Barriers
The ‘Performance without Barriers’ research group (PwB), based at the Sonic Arts Research Centre at Queen’s University Belfast has been exploring the potential of sonic arts practices and music improvisation for enhancing social inclusion. To date, the group has focused primarily on research activities related to the inclusive potential of providing access to music improvisation for people with physical disabilities via the use of digital technol…
Network[ed] Listening-Towards a De-centering of Beings
In this paper, I question modes of listening in network music performance environments, and specifically draw on my experience as a performer listening in these scenarios. I situate network listening within the context of current music making, and refer to changes in compositional practices that draw specific attention to listening. I argue that some of these compositional developments play a determining role in articulating a new discourse of li…
Dramaturgy as a Model for Geographically Displaced Collaborations
The network is currently not only widely used for performative actions, but also extensively theorised. However, the artistic strategies in networked environments and the ways in which these new performance practices and cultural contexts can give rise to new design approaches have not been equally explored. This article therefore investigates the notion of dramaturgy as it provides a useful framework for addressing design strategies and performa…
Wearable music in engaging technologies
Bodily instruments and instrumental bodies
I am delighted to introduce this double issue for Contemporary Music Review. For this issue I invited writers from very diverse backgrounds to reflect on sound in the widest possible sense in relat
The voice as transcursive inscriber
TEST 02 - Elsevier's Scopus, the largest abstract and citation database of peer-reviewed literature. Search and access research from the science, technology, medicine, social sciences and arts and humanities fields
The Deleuze-ian/Guattarian Performance
This paper considers music performance in light of the possibly most radical move away from the Cartesian idea of the body as informed by the higher order rationality of the mind: this is a performance informed by Deleuze's and Guattari's body without organs.The paper examines the particular performance activities of 'hardware hacker' Nic Collins, of 'live converter' Kaffe Matthews as well as 'infra-instrumentalist' Phil Archer's sonic interventi…
Sin obras prominentes en esta página.
The Deleuze-ian/Guattarian Performance
This paper considers music performance in light of the possibly most radical move away from the Cartesian idea of the body as informed by the higher order rationality of the mind: this is a performance informed by Deleuze's and Guattari's body without organs.The paper examines the particular performance activities of 'hardware hacker' Nic Collins, of 'live converter' Kaffe Matthews as well as 'infra-instrumentalist' Phil Archer's sonic interventi…
Bodily instruments and instrumental bodies
I am delighted to introduce this double issue for Contemporary Music Review. For this issue I invited writers from very diverse backgrounds to reflect on sound in the widest possible sense in relat
The voice as transcursive inscriber
TEST 02 - Elsevier's Scopus, the largest abstract and citation database of peer-reviewed literature. Search and access research from the science, technology, medicine, social sciences and arts and humanities fields
Wearable music in engaging technologies
Dramaturgy as a Model for Geographically Displaced Collaborations
The network is currently not only widely used for performative actions, but also extensively theorised. However, the artistic strategies in networked environments and the ways in which these new performance practices and cultural contexts can give rise to new design approaches have not been equally explored. This article therefore investigates the notion of dramaturgy as it provides a useful framework for addressing design strategies and performa…
Network[ed] Listening-Towards a De-centering of Beings
In this paper, I question modes of listening in network music performance environments, and specifically draw on my experience as a performer listening in these scenarios. I situate network listening within the context of current music making, and refer to changes in compositional practices that draw specific attention to listening. I argue that some of these compositional developments play a determining role in articulating a new discourse of li…
Music Improvisation and Social Inclusion
An invited, edited, double special issue for Routledge's "Contemporary Music Review" Journal (chief editor Prof Nelson). The issue is co-edited with Dr Samuels (Queen's University Belfast) and Dr Caines (University of Regina). The contract has been issued. The call went out on 1 February 2018, with over 75 proposals received. Final chapters were shortlisted and invited for a November 2018 deadline, with the envisaged final publication print-ready…
Performance without Barriers
The ‘Performance without Barriers’ research group (PwB), based at the Sonic Arts Research Centre at Queen’s University Belfast has been exploring the potential of sonic arts practices and music improvisation for enhancing social inclusion. To date, the group has focused primarily on research activities related to the inclusive potential of providing access to music improvisation for people with physical disabilities via the use of digital technol…
Improvisation/Indeterminacy
Exploring the Opportunities of Haptic Technology in the Practice of Visually Impaired and Blind Sound Creatives
Visually impaired and blind (VIB) people as a community face several access barriers when using technology. For users of specialist technology, such as digital audio workstations (DAWs), these access barriers become increasingly complex—often stemming from a vision-centric approach to user interface design. Haptic technologies may present opportunities to leverage the sense of touch to address these access barriers. In this article, we describe a…
Art (9 obras) · Aesthetics (8 obras) · Visual arts (8 obras) · Music Technology and Sound Studies (6 obras) · Computer Science (5 obras) · Sociology (5 obras) · Psychology (4 obras) · Communication (3 obras) · Epistemology (3 obras) · Improvisation (3 obras)