https://stinahasse.com stinahasse Tue, 07 Dec 2021 11:53:36 +0000 https://stinahasse.com en https://stinahasse.com/Sonic-interaction-design Tue, 07 Dec 2021 11:53:36 +0000 stinahasse https://stinahasse.com/Sonic-interaction-design Sonic interaction design&nbsp; Stina Hasse is making severel different sonic interaction design project exploring the interactive relation between voices and e.g. imaginaries, objects, spaces and storytelling.&nbsp; Cabinet of voices / Stemmekabinet (2023)&nbsp; <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bfa5cc2ddcc77f98d1d3725972b84e6122f2cfe1bf93828d083ea53994f39d4f/stemmekabinet-int2.jpeg" data-mid="175608992" border="0" src="https://freight.cargo.site/w/1000/i/bfa5cc2ddcc77f98d1d3725972b84e6122f2cfe1bf93828d083ea53994f39d4f/stemmekabinet-int2.jpeg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d446332047bbbe8e7fd49aea7ba8b768c2b073624a08721a0bb366308e907b74/stemmekabinet-int.jpeg" data-mid="175608995" border="0" src="https://freight.cargo.site/w/1000/i/d446332047bbbe8e7fd49aea7ba8b768c2b073624a08721a0bb366308e907b74/stemmekabinet-int.jpeg" /> Vocalabel (2022) A VR experience - that allows participants to listen, interact and map minute vocal expression. Made with tech VR wizard Theis Bech Nielsen for AIR LAB. <img width="1720" height="990" width_o="1720" height_o="990" data-src="https://freight.cargo.site/t/original/i/44284e72ff9217bfba33b852f1762dbd2ea8028d8f967f38fda0e9a969a081b2/Skrmbillede-2023-01-12-kl.-15.33.29.png" data-mid="164483846" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/44284e72ff9217bfba33b852f1762dbd2ea8028d8f967f38fda0e9a969a081b2/Skrmbillede-2023-01-12-kl.-15.33.29.png" />&nbsp; Sonic traces / Lydspor (2021-2022) What are the soundscape and sonic traces of a street 500 years ago? How do the sonic traces interact, ressonate, dissonate, entangle and overlap with the soundscape of the same street &nbsp;today? The project explores how to design sonic experiences through a methodological approach which combines deep listening, affective interaction design and soma design methods. We here investigate different ways for listeners to sense places through more-than-human encounters in augmented cityscapes. This project is a collaboration between Affective Interactions and Relations (AIR) Lab at the IT University, Catch Art and Technology Center and the City Museum of Helsingør.&nbsp; <img width="1652" height="1006" width_o="1652" height_o="1006" data-src="https://freight.cargo.site/t/original/i/4eaa65858f416bc65cc6d1b1c1188da0a6ff5e8abe7bc96e6c9f49644f543024/Screenshot-2021-12-07-at-14.36.05.png" data-mid="126723898" border="0" src="https://freight.cargo.site/w/1000/i/4eaa65858f416bc65cc6d1b1c1188da0a6ff5e8abe7bc96e6c9f49644f543024/Screenshot-2021-12-07-at-14.36.05.png" /> The composer as a sonic interaction designer (2021-) Here I explore the aesthetical and methodlogical aspects of developing scores for interactive sound expriences. &nbsp;<img width="2520" height="1254" width_o="2520" height_o="1254" data-src="https://freight.cargo.site/t/original/i/d526ab3a25439affb33b17cc6c63fda94cbf738d33d85a41381501125f7c7098/Skrmbillede-2022-03-31-kl.-15.00.24.png" data-mid="138166026" border="0" src="https://freight.cargo.site/w/1000/i/d526ab3a25439affb33b17cc6c63fda94cbf738d33d85a41381501125f7c7098/Skrmbillede-2022-03-31-kl.-15.00.24.png" /> &nbsp; This project has also been in explored in collaboration with artist and designer Louise Foo. We have made a workshop where we invite electroacoustic composers and performers to explore what new ways of composing can happen if the focus is on creating sonic interactive experiences. How can interaction design processes inform the compositional thinking? And what happens when the composition is thought of as a sonic interactive experience that listeners can co-create?&nbsp; <img width="1176" height="904" width_o="1176" height_o="904" data-src="https://freight.cargo.site/t/original/i/ef7f0b1a1b70809d4d68dfa54b8f0456afa17bfb7e90bba65d373e3e7acfe250/Skrmbillede-2022-04-01-kl.-12.40.42.png" data-mid="138268897" border="0" src="https://freight.cargo.site/w/1000/i/ef7f0b1a1b70809d4d68dfa54b8f0456afa17bfb7e90bba65d373e3e7acfe250/Skrmbillede-2022-04-01-kl.-12.40.42.png" /> https://stinahasse.com/Info Tue, 07 Dec 2021 11:53:36 +0000 stinahasse https://stinahasse.com/Info https://stinahasse.com/Collective-performative-practice Fri, 17 Mar 2017 12:18:03 +0000 stinahasse https://stinahasse.com/Collective-performative-practice Composition and collective performative practice&nbsp; Score for vocal interaction (2023) The score was developed for a collective performative investigation of voice interfaces and vocal interaction with smart speakers at VEGA LAB March 2023.&nbsp; <img width="898" height="1252" width_o="898" height_o="1252" data-src="https://freight.cargo.site/t/original/i/0088c43fc9bd3006897b4d42e2579c167103b83c5dd735b051950117ce5d232a/Skrmbillede-2023-04-13-kl.-16.01.40.png" data-mid="175607741" border="0" src="https://freight.cargo.site/w/898/i/0088c43fc9bd3006897b4d42e2579c167103b83c5dd735b051950117ce5d232a/Skrmbillede-2023-04-13-kl.-16.01.40.png" /> The composition consist of a score for interactions with smart speakers and cards for vocal performative &nbsp;interactions. Below are two examples of the performative interaction cards.&nbsp; <img width="652" height="516" width_o="652" height_o="516" data-src="https://freight.cargo.site/t/original/i/45b474c80908832d1b73ebd6bfbf1a14e4afce4fca88216c196df39bf9b43b12/Skrmbillede-2023-04-13-kl.-14.03.29.png" data-mid="175607902" border="0" src="https://freight.cargo.site/w/652/i/45b474c80908832d1b73ebd6bfbf1a14e4afce4fca88216c196df39bf9b43b12/Skrmbillede-2023-04-13-kl.-14.03.29.png" /> <img width="656" height="524" width_o="656" height_o="524" data-src="https://freight.cargo.site/t/original/i/feda0b9307df7479ea6b2acd46f7d8b77d2e5566ccda190fec87a4346d748316/Skrmbillede-2023-04-13-kl.-14.02.59.png" data-mid="175607919" border="0" src="https://freight.cargo.site/w/656/i/feda0b9307df7479ea6b2acd46f7d8b77d2e5566ccda190fec87a4346d748316/Skrmbillede-2023-04-13-kl.-14.02.59.png" /> Collective performative vocal interaction with smart speakers <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1341e86fa45c39e02714e295e422282fe044362a1a9c92619f7f812f20bf7a43/vui-int.jpeg" data-mid="175608453" border="0" src="https://freight.cargo.site/w/1000/i/1341e86fa45c39e02714e295e422282fe044362a1a9c92619f7f812f20bf7a43/vui-int.jpeg" /> <img width="1026" height="926" width_o="1026" height_o="926" data-src="https://freight.cargo.site/t/original/i/57a4c8d7a03adc7164cc0ba44e072ea330c890f28036617aef3728f4ea5dc184/Skrmbillede-2023-04-17-kl.-10.28.13.png" data-mid="175608762" border="0" src="https://freight.cargo.site/w/1000/i/57a4c8d7a03adc7164cc0ba44e072ea330c890f28036617aef3728f4ea5dc184/Skrmbillede-2023-04-17-kl.-10.28.13.png" /> Composition for collective listening (2023)&nbsp; The score was developed for a collective performative investigation of collective listening at VEGA LAB March 2023. <img width="840" height="1198" width_o="840" height_o="1198" data-src="https://freight.cargo.site/t/original/i/33da59b18207e49bd0cff2677d55884bda466845c343136cffd13bfac768b7cc/Skrmbillede-2023-04-13-kl.-15.54.23.png" data-mid="175607972" border="0" src="https://freight.cargo.site/w/840/i/33da59b18207e49bd0cff2677d55884bda466845c343136cffd13bfac768b7cc/Skrmbillede-2023-04-13-kl.-15.54.23.png" /> <img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/86fb4b9fd91c390a81b758e617f5e14c3c9a1959682cf0087e7298f45c06829f/kollektivlytning.jpeg" data-mid="175608594" border="0" src="https://freight.cargo.site/w/900/i/86fb4b9fd91c390a81b758e617f5e14c3c9a1959682cf0087e7298f45c06829f/kollektivlytning.jpeg" /> For more than one voice (2016 - ) For More Than One Voice is a collective grounded in collective performative readings which has manifested as performances, workshops and scores. &nbsp;The collective explores the politics and aesthetics of vocal expression in groups and collectives. The collective performative readings investigates more specifically,how we might speak and listen to more than one voice in ways that allow resonance, polyphony, dissonance, ambiguity, plurality and embrace.&nbsp; The collective performative reading has been performed at NLH Space as part of Stemmer (2016) curated by Mette Garfield and Miriam Wistreich, at Den Frie Udstillingsbygning as part of Scripted (2016), edited and organized by Trine Mee Sook Gleerup, Maria Bordorff and Mathias Kryger in collaboration with Eller med a, and at Sorte Firkant convened by Migratory Times, the Institute of (im)Possible Subjects, For More Than One Voice, and at land’s edge (2016). A remediation of the collective performative reading was published in Collective (special issue at Peripeti, 2020). In 2021 we did a mediated collective performative reading via Zoom at the Media School, The Royal Academy of Fine Arts and published a score on 1000 Scores. In 2022 a workshop on event scores with starting piont in our score on 1000 Scores was held at the Rythmic Music Conservatory (RMC).&nbsp; For more than one voice is a collaboration with artist Jane Jin Kaisen. Composition For More Than One Voice (2021)&nbsp; <img width="2108" height="1616" width_o="2108" height_o="1616" data-src="https://freight.cargo.site/t/original/i/48bee1a19ef40fef04c904928a17933f07b99ec72dd717a567e95a467d5d4ee8/Screenshot-2021-12-08-at-14.37.26.png" data-mid="126831483" border="0" src="https://freight.cargo.site/w/1000/i/48bee1a19ef40fef04c904928a17933f07b99ec72dd717a567e95a467d5d4ee8/Screenshot-2021-12-08-at-14.37.26.png" /> Performance&nbsp; <img width="1314" height="820" width_o="1314" height_o="820" data-src="https://freight.cargo.site/t/original/i/2f759decd02e6fed1f4c0613356003a0648f0e88cb57c127af8f61224ab0ccb3/Skrmbillede-2017-03-17-kl.-13.14.15.png" data-mid="126717034" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/2f759decd02e6fed1f4c0613356003a0648f0e88cb57c127af8f61224ab0ccb3/Skrmbillede-2017-03-17-kl.-13.14.15.png" /> <img width="1334" height="898" width_o="1334" height_o="898" data-src="https://freight.cargo.site/t/original/i/df43bbdbbc9a321da4b41b48ef9d352162591a33ff5fa4c05f201df4aabf68e8/Skrmbillede-2017-03-17-kl.-13.14.25.png" data-mid="126717035" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/df43bbdbbc9a321da4b41b48ef9d352162591a33ff5fa4c05f201df4aabf68e8/Skrmbillede-2017-03-17-kl.-13.14.25.png" /> <img width="1318" height="982" width_o="1318" height_o="982" data-src="https://freight.cargo.site/t/original/i/8dc4fb676b2d9a83dfac5dbe504c581fdf969823f7c8860d2beabcd6b39335df/Skrmbillede-2017-03-17-kl.-13.14.35.png" data-mid="126717036" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8dc4fb676b2d9a83dfac5dbe504c581fdf969823f7c8860d2beabcd6b39335df/Skrmbillede-2017-03-17-kl.-13.14.35.png" /> Photo credit: Frida Gregersen Performance documentation, NLHspace 2016. Read more about the collective performative reading here [multivocal] (2015 - 2022) [multi’vocal] was a collective exploring the politics and aesthetics of synthetic voices. The collective was concerned with the collection and generation of multivocal synthetic voices and the project has manifested as sonic interactions design, installations and events. Generating the voice In a collaboration between [multi’vocal] and Anyines record label, a onesided LP with the generation of the tone of a synthetized voice will be released in the future. Below are some process documentation of the compositional collective work on the score for the record. Score&nbsp; <img width="2032" height="1030" width_o="2032" height_o="1030" data-src="https://freight.cargo.site/t/original/i/1f04d1eb9e6d4480f156d3837bccbabe506526ad56a5a2422fecc38a193e7d77/Screenshot-2021-09-15-at-14.01.10.png" data-mid="126836349" border="0" src="https://freight.cargo.site/w/1000/i/1f04d1eb9e6d4480f156d3837bccbabe506526ad56a5a2422fecc38a193e7d77/Screenshot-2021-09-15-at-14.01.10.png" /><img width="2600" height="1636" width_o="2600" height_o="1636" data-src="https://freight.cargo.site/t/original/i/64a0ade305a92147cc72e462f77e6529f72dfab4d88b773cc23a97a27f2324ab/Screenshot-2021-09-14-at-19.21.57.png" data-mid="126836357" border="0" src="https://freight.cargo.site/w/1000/i/64a0ade305a92147cc72e462f77e6529f72dfab4d88b773cc23a97a27f2324ab/Screenshot-2021-09-14-at-19.21.57.png" /> <img width="2344" height="1416" width_o="2344" height_o="1416" data-src="https://freight.cargo.site/t/original/i/a2e728a8ec4ed915e2d781c3048e95d4767ad46ede38a5f105041a4c3dad8a2f/Skrmbillede-2021-12-20-kl.-21.07.07.png" data-mid="130448941" border="0" src="https://freight.cargo.site/w/1000/i/a2e728a8ec4ed915e2d781c3048e95d4767ad46ede38a5f105041a4c3dad8a2f/Skrmbillede-2021-12-20-kl.-21.07.07.png" /> https://stinahasse.com/Publication-list Wed, 04 Jan 2012 10:22:17 +0000 stinahasse https://stinahasse.com/Publication-list Publication list Stina Hasse has written extensively about sound art, sonic interaction design and vocal performance.&nbsp; 2024:&nbsp;MoSS: Unfolding Playful Imaginaries of Synthetic Voice Design through a Modular Smart Speaker. Written with&nbsp;Søren Lyngsø Knudsen and Jonas Fritsch.&nbsp;Proceedings for Designing Interactive Systsems (DIS) Conference, July 1-5th 2024. 2024: Cultures of the paralinguistic in AI voice cloning tools. Written with Ada Hyldahl Fogh and Jonas Fritsch. Proceedings for Designing Interactive Systsems (DIS) Conference, July 1-5th 2024. 2023: Voice as Infrastructure. An audio paper at Seismograf Peer special issue on What Sounds Do. Made in collaboration with Marie Ertner and Signe Yndigegn.&nbsp; 2023: LYDSPOR: AN URBAN SOUND EXPERIENCE WEAVING TOGETHER PAST AND PRESENT THROUGH VIBRATING BODIES. Written with Karin Ryding, &nbsp;Vasiliki Tsaknaki and Jonas Fritsch.&nbsp; In Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems (CHI ’23), April 23–28, 2023, Hamburg, Germany.&nbsp;ACM, New York, NY, USA, 16 pages. 2022: “Perspectives on Sounding Women’s Work,” in Seismograf Peer, special issue Sounding Women’s Work (2022).&nbsp;Eds. Kristine Ringsager, Stina Hasse Jørgensen, Agnete Seerup and Andreo Mielczarek. 2021: “Sensing Places: Making Room for More-Than-Human Encounters in the City,” in Politics of the Machine (POM) Conference 2021. Written with Karin Ryding and Vasiliki Tsaknaki. 2021: "The generation of a [multi’vocal] voice," in Seismograf Peer, special issue Sounds of Science: Composition, recording and listening as laboratory practice. Eds. Sanne Krogh Groth and Henrik Frisk. (2021). Written with Alice Emily Baird, Frederik Tollund Juutilainen, Mads Pelt &amp; Nina Cecilie Højholdt. 2021: "Breathing Commons: Affective and Somatic Relations Between Self and Others," in 2021 Nordic Design Research Society (NORDES) conferenc. Written with Vasiliki Tsaknaki, Lena Kühn, Karin Ryding, Mai Hartmann, Maria Foverskov and Jonas Fritsch. 2020: Vocal Bodies: Performing Paralinguistic Stereotypes and Multivocalities in Art and Digital Media, PhD Dissertation, Department of Arts and Cultural Studies, University of Copenhagen. 2020:"Kollektiv/Collective," in Peripeti no. 31. Eds. Cecilie Ullerup Schmidt, Mette Tranholm, Solveig Daugaard, Stina Hasse Jørgensen (2020). Written with Cecilie Ullerup Schmidt, Mette Tranholm, Solveig Daugaard, Stina Hasse Jørgensen. 2020: "Collective Performative Reading" by For More Than One Voice (with Jane Jin Kaisen), in Collective - Peripeti no. 31. Eds. Cecilie Ullerup Schmidt, Mette Tranholm, Solveig Daugaard, Stina Hasse Jørgensen. 2020: "Vocalizing Dystopian and Utopian Impulses," in The Bloomsbury Handbook of Sound Art. Eds. Sanne Krogh Groth and Holger Schulze. London, New York: Bloomsbury Publishing (2020). 2019: "Stemmernes politik i samtidskunsten," in Terræn: Veje ind i samtidskunsten. Eds. Camma Juel Jepsen; Rasmus Kjærboe; Sine Krogh; Martin Søberg. Aarhus : Aarhus Universitetsforlag. p. 228-245. 2019: "Re-Volution Sampler – The Aesthetics of a Participatory Archive of Political Songs," in RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology (RE:SOUND 2019). Ed. Morten Søndergaard. Written with Daniel Cermak-Sassenrath. 2018: "[multi’vocal]: Reflections on Engaging Everyday People in the Development of a Collective Non-Binary Synthesized Voice", in EVA Copenhagen 2018 - Politics of the Machines - Art and After Conference Proceedings. Co-written with Alice Emily Baird, Frederik Tollund Juutilainen, Mads Pelt &amp; Nina Cecilie Højholdt. 2018: "ROBOT &amp; THE END: A Comparative Critical Reading of the Staging of Synthesized Voices in Digital Media Performances," in Peripeti Vol. 15 Nr. 29/30 (2018): Bodies of Difference/Kroppe I forskellighed. p.157-169. 2018: "The Perception of Vocal Traits in Synthesized Voices: Age, Gender, and Human-Likeness," in JAES. Co-written with Alice Emily Baird, Emilia Parada-Cabaleiro, Simone Hantke, Nicholas Cummins, and Bjorn Schuller. JAES, Audio Engineering Society, vol. 66 issue 4, pp. 277-285. 2017:" Hatsune Miku: An Uncertain Image," in Digital Creativity, vol.28 issue 4, pp.318 – 331. Co-written with Sabrina Vitting-Seerup and Katrine Wallevik. 2017: "Perception of Paralinguistic Traits in Synthesized Voices," in Proceedings from the 12th International Audio Mostly Conference. Co-written with Alice Emily Baird, Emilia Parada-Cabaleiro, Simone Hantke, Nicholas Cummins, and Bjorn Schuller. 2017:"Technological Fantasies of Nao : remarks about alterity relations," in Transformations Journal of Media, Culture &amp; Technology, issue 29.Co-written with Oliver Alexander Tafdrup. 2017: Rummet mellem tavsheden knitrer, risler, klinger og klikker. Co-written with Steffen Breum Sørensen. Seismograf. 2016: THE END: En teknisk operaoplevelse. Seismograf. 2016: Popstjerne af lys, lyd og software. kunsten.nu. 2015: Electromagnetic Landscape. Co-written with Daniel Cermak-Sassenrath and Ayaka Okutsu. ISEA 2015. 2015: Udstilling På Plade. Co-written with Tobias Linnemann Ewé. Seismograf. 2015: Ian Ingram: Next Animals. Co-editor together with Ian Ingram. Catalogue for Nikolaj Kunsthal. 2013: Musikalske Udknaldetheder. Co-written with Marie Friis Forchhammer. Seismograf. 2012: I am Sitting in a Room - from a listener's perspective. Body, Space &amp; Technology Journal. 2012: Move/Bevæg Dig: An Interactive Sound Art Installation. Co-written with Jeff Snyder. Proceedings from Music, Mind, and Invention Workshop. 2011: Speech Matters, Afart #33. Department of Arts and Cultural Studies, University of Copenhagen. 2010: The Global Lives Project: Making New Media Matter in a Global World. Cultural Analysis. https://stinahasse.com/Academic-work-media Tue, 06 Mar 2018 15:03:46 +0000 stinahasse https://stinahasse.com/Academic-work-media Academic work &amp; media LEADERSHIP Co-leader of the Digital Culture Research Cluster at&nbsp;Department of Arts and Cultural Studies, University of Copenhagen 2025- GRANTS Voice as a Matter of Design: a Framework for Novel Vocal Imaginaries, The Independent Research Fund Denmark – DFF-Research Project, 2022-2025 [multi’vocal], The New New, Bertelsmann Stiftung’s “Ethics of Algorithms” project and Superrr Lab in collaboration with Allianz Kulturstiftung and Goethe-Institut, 2020 -2021 EDITOR- &nbsp; &nbsp; &nbsp;&nbsp; Guest Editor, Sounding Women’s Work, special issue, Seismograf Peer Journal (2020-2022) - &nbsp; &nbsp; &nbsp;&nbsp; Guest Editor, Collective, special issue, Peripeti Journal (2019-2020) REVIEWER - &nbsp; &nbsp; &nbsp; CHI &nbsp;2021, 2024&nbsp;- &nbsp; &nbsp; &nbsp;&nbsp;Teknokroppen, Fuglsang Kunstmuseum, 2023 -&nbsp; &nbsp; &nbsp; &nbsp; Seismograf Peer 2022, 2023 - &nbsp; &nbsp; &nbsp;&nbsp; DIS 2020, 2023 - &nbsp; &nbsp; &nbsp; &nbsp;Journal of Sonic Studies 2021 - &nbsp; &nbsp; &nbsp;&nbsp; POM 2018 MASTER COURSES2023: Users in Context /Situated Technologies&nbsp;at the IT University in Copenhagen. 2017, 2018: Research Topics in Interaction Design (part of the specialization in IxD) at the IT University in Copenhagen. 2017: Introduction to Interaction Design at the IT University of Copenhagen. 2016:&nbsp;Robots and Artificial Life&nbsp;at the Department of Arts and Cultural Studies at the University of Copenhagen. 2015: Sound Design at the Department of Arts and Cultural Studies at the University of Copenhagen. BACHELOR COURSES 2021: Qualitative Research Methods and Academic Communication at the IT University of Copenhagen. 2018: Digital Experience and Aesthetics&nbsp;at the IT University of Copenhagen. SUPERVISOR 2014 - 2023: Supervision of + 20 students writing bachelor projects and master thesis individually or in groups up to four students.&nbsp; GUEST LECTURER &amp; WORKSHOP FACILITATOR 2022: The Rhythmic Music Conservatory (RMC). 2021: Electronic Sound and Music at the Royal Academy of Music. 2020-2021: Danish Institute of Electronic Music (DIEM)&nbsp;The Royal Academy of Music. 2021: The School of Media Arts, The Royal Danish Academy of Art&nbsp;Copenhagen 2013-2014:&nbsp;Digital Culture at the Department of Arts and Cultural Studies at Lund University. GRANT COMMITTEE WORK 2023 Nye Veje Legat&nbsp; (member of grant committee) CENSOR WORK&nbsp; 2020 - 2025 : Danish Institute of Electronic Music (DIEM) at the Royal Academy of Music, Electronic Sound and Music at the Royal Academy of Music &amp; the Rhythmic Music Conservatory.&nbsp; INVITED PUBLIC TALKS &amp; MEDIA APPEARANCES - &nbsp; &nbsp; &nbsp; The Good Robot - Re-imagining Voice Assistants (Podcast episode,&nbsp;March 11th, 2025) - &nbsp; &nbsp; &nbsp; Klonede klange - Stemmens rolle i fremtidens musik og medier, invited presenter, Rytmisk Center (2024) - &nbsp; &nbsp; &nbsp; Nye Veje, invited respondent and presenter, The Danish Composers’ Society (2022)&nbsp; - &nbsp; &nbsp; &nbsp; Sounding Women’s Work, invited presenter,&nbsp;Stella Camp (2022) - &nbsp; &nbsp; &nbsp;Voice as a Matter of Design, presenter, Digital Tech Summit (2022) - &nbsp; &nbsp; &nbsp; [multi’vocal], interview, the New New and SUPERRR Lab (2021) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; New Connections – Queering the Radio Voice, podcast, Art Hub Copenhagen (2021) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Blinde vinkler, podcast, IDA Ingeniørforeningen (2020) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Conversations with Every Thing, talk, Techfestival (2019) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Designing Inclusive Voice Assistants, talk, BLOCK ZERO (2019) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Vocaloids at Future Talks, talk, IDA Ingeniørforeningen (2018) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hvordan bliver et stykke stemme-software til et kulturelt fænomen?, interview, IDA Universe (2017) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Techtopia #17, podcast, IDA Ingeniørforeningen (2017) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hatsune Miku in The End, TV interview, DR 2 (2017) - &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Aesthetics of Social Robots, talk, Vermilion Sands (2016) https://stinahasse.com/Vocal-exploration Sun, 21 Mar 2021 10:46:57 +0000 stinahasse https://stinahasse.com/Vocal-exploration Vocal exploration Stina Hasse has through practice-based research (since 2006)&nbsp;explored the politics and aesthetics of vocal expression, based in bodily processes, as well as electronic and synthetic generation of vocal expression. &nbsp; Below are selected projects making audible how voice has been explored through recordings in anechoic and reveberant chambers, &nbsp;generated with interactive sensor technologies, robots, machine learning and displayed in surround sound installations and museum events. <img width="518" height="154" width_o="518" height_o="154" data-src="https://freight.cargo.site/t/original/i/a07df5be65602e5bb37e77ceee7b9a081ac4ff30f1be18e078c44f7c21b380c5/Skrmbillede-2024-01-17-kl.-18.24.18.png" data-mid="202042528" border="0" src="https://freight.cargo.site/w/518/i/a07df5be65602e5bb37e77ceee7b9a081ac4ff30f1be18e078c44f7c21b380c5/Skrmbillede-2024-01-17-kl.-18.24.18.png" /> The research project Voice as a Matter of Design: a Framework for Novel Vocal Imaginaries critically explores the affective and sociocultural implications for human-machine configuration in a time where voice has become a matter of design. Voice is both a matter of expression and of being heard, and connects deeply to feelings of intimacy, identity, sociality and performativity. Voices are complex, variable and diverse; the minute nuances of tone of voice influence the affective tonality and interpretation of what and how we are trying to communicate in sociocultural context. Current primarily Western synthetic voice designs often present us with ‘natural’ and heteronormative vocal stereotypes, that do not take vocal diversity into account. To facilitate a broader spectrum of vocal expressions , we explore vocal imaginaries that operate beyond normative vocal stereotypes and develop a framework for pluralistic synthetic voice design. The research project is supported by the Independent Research Fund Denmark – DFF-Research Project 1: 2022- 2025, led by associate professor, Jonas Fritsch and assistant professor, Stina Marie Hasse Jørgensen. Read more here [multi’vocal] <img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/8ea62f24a5a1a8c94e5757f604437e158385db9c6f3c428cd663d2b96cd1f1e5/IMG_1442.JPG" data-mid="127079166" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8ea62f24a5a1a8c94e5757f604437e158385db9c6f3c428cd663d2b96cd1f1e5/IMG_1442.JPG" /> What are the politics and aesthetics of synthesized voices? What happens to our listening experiences of voices when the voice is synthesized? What notions of identity, personhood and will do we ascribe to the synthesized voices talking to us? Synthetic voices are artificial voices generated by algorithms in computers. Most of the synthesized voices we hear in our everyday life have one vocal identity. In the project [multi’vocal] we question the aesthetic as well as representational modes of the synthesized voices and ask: since voices from machines are not limited to a single vocal identity, then why do most synthesized voices have only one gender, one age, and one accent? The aim of [multi’vocal] is to bring forth reflections of how synthesized voices are affecting us and creating new listening experiences and relationships between humans and machines. The [multi’vocal] collective was initiated in 2015 and has these amazing people involved: Frederik Tollund Juutilainen, Mads Pelt, Alice Emily Baird, Nina Cecilie Højholdt, and Stina Hasse Jørgensen. Read more about the project here and here. We have published an audio paper about our research and process into multivocal synthetic voice generation at Seismograf Peer. In 2021 we received a fellowship from The New New to continue our work. We will release a record at Anyines in late 2022. <img width="3032" height="1919" width_o="3032" height_o="1919" data-src="https://freight.cargo.site/t/original/i/f1b48f78687dc96d568ab2c7fa935bbea29d2a59849b59da2484fdeb2e12129f/IMG_0868.JPG" data-mid="127079165" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f1b48f78687dc96d568ab2c7fa935bbea29d2a59849b59da2484fdeb2e12129f/IMG_0868.JPG" /> Voice as Function 2015An exploration speech synthesis in terms of personification, representation and translation. Below is a test of the speech synthesis used in Google Translate reading out an excerpt from the Ursonate by Kurt Schwitters (1922-1932). Voice as Function was presented at a PhD seminar, Kunsthal Aarhus 2015 The Robot at the Museum The Robot at the Museum (2015 - 2016) investigated the listening relations we have to the synthetic voices of social robots in a museum context. What kind of vocal engagements does the robot create? Specifically the project experimented with the voice of the humanoid robot NAO in the role as a museum tour guide at Medical Museion in Copenhagen, Denmark. <img width="1604" height="346" width_o="1604" height_o="346" data-src="https://freight.cargo.site/t/original/i/9d4bc1be069b95c22ede359593ac996c239230d90c1407735ae2a3ebdb559313/Skrmbillede-2017-03-17-kl.-14.16.19.png" data-mid="126717044" border="0" src="https://freight.cargo.site/w/1000/i/9d4bc1be069b95c22ede359593ac996c239230d90c1407735ae2a3ebdb559313/Skrmbillede-2017-03-17-kl.-14.16.19.png" /> The project was made in collaboration with Oliver Alexander Tafdrup, PhD Fellow at Future Technology, Culture &amp; Learning, Aarhus University and Stine Harrekilde, MA at Future Technology, Culture &amp; Learning, Aarhus University. The project was realized in collaboration with Medical Museion, University of Copenhagen. Read, listen and see more about the project here. Move/Bevæg Dig Move/Bevæg Dig (2011 - 2012) focuses on the listener’s interaction and experience of the tone of voice and words as musical expressions, in relation to the body and the surrounding space. The hardware consists of a pair of headphones, an Arduino nano and two ultrasonic distance sensors. The software is formed by a phase vocoder Max MSP patch originally created by Dan Trueman transforming the data send from the Arduino. The interactive sound installation is part of a research project that investigates the potential of interactive sound installations. <img width="2300" height="1286" width_o="2300" height_o="1286" data-src="https://freight.cargo.site/t/original/i/fb45f73caf04d6e488675d2e0841aa20ea74fc5c84afdb7f6283fce7f5da904d/Skrmbillede-2017-03-17-kl.-13.22.06.png" data-mid="126717045" border="0" src="https://freight.cargo.site/w/1000/i/fb45f73caf04d6e488675d2e0841aa20ea74fc5c84afdb7f6283fce7f5da904d/Skrmbillede-2017-03-17-kl.-13.22.06.png" /> Move/Bevæg Dig is made in collaboration with Jeff Snyder. The project has been presented at BEAM Festival &amp; LAK Festival. Listen, watch and read more about the research project here. The Language TreeThe Language Tree is a surround sound installation displaying a conversation between different languages on what wisdom is. The paralinguistics of the voices are investigated; how they whisper, scream, overlap, resonate and dissonate in ways that transform the meaning of the words into a cacophonous paralinguistic sonic display of the voices and the recording technology used in the piece. The Language Tree was comissioned by Enge-rom Library University of Copenhagen 2010.&nbsp;The Language Tree is a surround sound installation made for the Engerom Library at University of Copenhagen. The excerpt shows the first part of the 30 min installation. I am Sitting in a Different Room I am Sitting in a Different Room (2010) was recorded in 2008 an anechoic chamber at the Danish Technical University, Department of Acoustics, Denmark. Through a reappropriation of I am Sitting in a Room from 1970 by Alvin Lucier in an anechoic chamber new meanings of the work appears. The reappropriation in the anechoic chamber investigates the process of playback and recording in the anechoic chamber and how this transforms the character of the voice, not as space, but as technology. This makes the recording device, normally almost inaudible, audible. Read more about I am Sitting in a Different Room in the article 'Doing It Wrong' by Douglas Repetto published in Frontiers of Engineering. Read more about the whole project in the article 'I am Sitting in a Room - from a listener's perspective' in Body, Space &amp; Technology Journal.<img width="518" height="154" width_o="518" height_o="154" data-src="https://freight.cargo.site/t/original/i/a07df5be65602e5bb37e77ceee7b9a081ac4ff30f1be18e078c44f7c21b380c5/Skrmbillede-2024-01-17-kl.-18.24.18.png" data-mid="202042528" border="0" src="https://freight.cargo.site/w/518/i/a07df5be65602e5bb37e77ceee7b9a081ac4ff30f1be18e078c44f7c21b380c5/Skrmbillede-2024-01-17-kl.-18.24.18.png" /> https://stinahasse.com/About Sun, 21 Oct 2012 16:57:24 +0000 stinahasse https://stinahasse.com/About About Stina Hasse Jørgensen (she/her) is a tenure-track assistant professor at University of Copenhagen, Department of Arts and Cultural Studies, Musicology. Stina started her path as a practitioner &nbsp;and theorist of sound art and interactive sound at Tonespace / Electronic Music and Sound Art, at the Danish National Academy of Music (SDMK). She then took courses on advanced music technology and creative sound design at the School of Music and Media Arts, at University of London, Royal Holloway (RHUL), and studied sound art at Art History and Auditive Culture at University of Copenhagen (UCPH). Later she was taught by Douglas Repetto, Brad Garton and George Lewis at the Columbia Computer Music Center (CMC). Stina has developed her practice with a focus on sound technologies, feminism and collective practices, presenting her projects at places such as 1000 Scores/SPOR festival, NLHspace, Kunsthal Aarhus, the Digital Interactive Art Space (DIAS), Sorte Firkant, Roskilde Festival, Tech Festival, Wundergrund Festival, Atelier Hotel Pro Forma, MIX Copenhagen, Catch at Click Festival, LAK festival, Art Hub Copenhagen and Den Frie Udstillingsbygning. Stina publish articles on sound technology, vocal exploration and artistic expression, collective work and affective labor in journals such as Digital Creativity, Seismograf Peer, Transformations, Journal of Audio Engineering Society, Cultural Analysis, and contributed to anthologies such as Terræn: Veje ind i samtidskunsten and The Bloomsbury Handbook of Sound Art. Stina has given papers at conferences such as Nordes design research conference, Politics of the Machine, ISACS, Terræn - konference om samtidskunst i Danmark, Audio Mostly, ISEA, Aesthetics, Ethics and Biopolitics of the Posthuman, Global Lives Project - UC Berkeley, Re-New IMAC, and NORDIK. Stina was granted her PhD degree from the Department of Arts and Cultural Studies, University of Copenhagen, where she researched the politics and aesthetics of (synthesized) voices in media arts and design through practice-based research. As postdoctoral researcher, &nbsp;and assistant professor at the IT University of Copenhagen,&nbsp;Stina has gained great experience being censor, lecturer, and co-developer courses in topics such as sound art, sound design, electronic composition and production, interaction design, digital experience and aesthetics. She has taught different courses, workshops, seminars and supervised students at the Digital Design Department at the IT University of Copenhagen, the Department of Arts and Cultural Studies at University of Copenhagen, Digital Cultures at Lund University and at the School of Media Arts, Royal Academy Of Fine Arts. Stina is a guest lecturer, external examiner and part of the censorpanel for Electronic Composition on the Bachelor and Master’s degree at the Danish Institute of Electronic Music (DIEM) and at the Electronic Sound and Music at the Royal Academy of Music. Stina is also a guest lecturer and external examiner at the Rhythmic Music Conservatory (RMC). Major works include the collective [MULTI´VOCAL] project, taking form as an installation, website and coming LP sounding the generation of a synthetic voice; the collective project FOR MORE THAN ONE VOICE, taking form as a score, a collective performatice reading, a workshop and a publication; MOVE/BEVÆG DIG, an interactive sound installation. New works are in development with AIR Lab. Stina is part of the [multi'vocal] collective, which received a fellowship from the New New to release a record at the label Anyines in 2023. The fellowship is by the Bertelsmann Stiftung’s “Ethics of Algorithms” project and Superrr Lab in collaboration with Allianz Kulturstiftung and Goethe-Institut. Stina is part of the work group on creative sound technologies at the Danish Sound Cluster, where she organises events on sound technologies and diversity, &nbsp;and was the co-editor of Sounding Women’s Work at Seismograf Peer (2022). From 2022- 2025 Stina worked on the research project "Voice as a Matter of Design: a Framework for Novel Vocal Imaginaries" in collaboration with VEGA LAB,&nbsp;supported by The Danish Council for Independent Research | Humanities (DFF) together with associate professor Jonas Fritsch, algorithmic artist Ada Ada Ada and composer Søren Lyngvig Knudsen. Contact Danish cell: 0045 23826723 E-mail: stinahasse@gmail.com