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1
Ouzounian, Gascia. „Sound art and spatial practices situating sound installation art since 1958 /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
2
Davies, Shaun, of Western Sydney Nepean University und Faculty of Visual and Performing Arts. „Sound art and the annihilation of sound“. THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.
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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesisMaster of Arts (Hons)
3
Davies, Shaun. „Sound art and the annihilation of sound“. Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.
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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
4
Davies, Shaun. „Sound art and the annihilation of sound /“. View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.
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5
Penrose, Joshua Adam. „Situating Sound“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.
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6
Milano, Omar. „It's a Wonderful Business: The Art of Production Sound“. Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.
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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.
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Taylor, Jonathan Milo. „ImMApp : an immersive database of sound art“. Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.
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The ImMApp (Immersive Mapping Application) thesis addresses contemporary and historical sound art from a position informed by, on one hand, post-structural critical theory, and on the other, a practice-based exploration of contemporary digital technologies (MySQL, XML, XSLT, X3D). It proposes a critical ontological schema derived from Michel Foucault's Archaeology of Knowledge (1972) and applies this to pre-existing information resources dealing with sound art. Firstly an analysis of print-based discourses (Sound by Artists. Lander and Lexier (1990), Noise, Water, Meat. Kahn (2001) and Background Noise: Perspectives on Sound Art. LaBelle (2006)) is carried out according to Foucauldian notions of genealogy, subject positions, the statement, institutional affordances and the productive nature of discursive formation. The discursive field (the archive) presented by these major canonical texts is then contrasted with a formulation derived from Giles Deleuze and Felix Guattari: that of a 'minor' history of sound art practices. This is then extended by media theory (McLuhan, Kittler, Manovich) into a critique of two digital sound art resources (The Australian Sound Design Project (Bandt and Paine (2005) and soundtoys.net Stanza (1998)). The divergences between the two forms of information technologies (print vs. digital) are discussed. The means by which such digitised methodologies may enhance Foucauldian discourse analysis points onwards towards the two practice-based elements of the thesis. Surface, the first iterative part, is a web-browser based database built on an Apache/MySQIlXML architecture. It is the most extensive mapping of sound art undertaken to date and extends the theoretical framework discussed above into the digital domain. Immersion, the second part, is a re-presentation of this material in an immersive digital environment, following the transformation of the source material via XSL-T into X3D. Immersion is a real-time, large format video, surround sound (5.ln.l) installation and the thesis concludes with a discussion of how this outcome has articulated Foucauldian archaeological method and unframed pre-existing notions of the nature of sound art.
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Behrendt, Frauke. „Mobile sound : media art in hybrid spaces“. Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Gilmurray, Jonathan. „Ecology and environmentalism in contemporary sound art“. Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
10
Genevro, Brad. „The art of recording the American wind band“. connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Pigott, Jon. „Materials systems and autonomy in electromechanical sound art“. Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11587/.
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Sound art is a difficult to categorise and broad genre description that draws together modes of creative practice which use sound as a medium or a subject. The field is considered to be critically underrepresented and under-theorised despite an increase of attention and popularity since the 1990s (Licht 2007, 2001, Cox 2009). This is partly as a consequence of an analytical and historical emphasis on textual and conceptual approaches which dominated the arts through the 1970s and 1980s (Cox 2011, 2013). In particular, acknowledgement of the influence of object-based and kinetic sculpture within the field of sound art is found to be inadequate (Chau 2014, Keylin 2015). This thesis presents an original body of sound art practice as a means through which to uncover and explore connections between sound art, experimental composition, kinetic art and sculpture. The term 'electromechanical' is used to identify this work, highlighting its particular concerns with the use of electrically animated or amplified materials. Through the production, exhibition, critical appraisal and contextualisation of the work new observations and distinctions within the field are presented. These include the identification of a 'closed system aesthetic' and the distinction between robotic and process driven approaches to electromechanical sound art. A further contribution to the field consists of a detailed consideration of sound art emerging from an intersection of experimental music and sculptural practices during the 1960s. The original works produced for the project, and their production are documented and described in detail alongside existing canonical and contemporary examples of sound art. Analysis of these works is informed by materialist and object-orientated critical positions, and science and technology studies. The method of art practice as research is described and extended in an original way that encompasses and applies a systems approach to creative practice.
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De, Conti Diana <1987>. „Commistioni tra arte e suono: la Sound Art“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4488.
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La Sound Art si configura come un fenomeno artistico sperimentale presente nell'arte contemporanea. Rappresenta una confluenza interdisciplinare tra arte e musica:principio di comunanaza diviene il suono puro,inteso quale medium espressivo, veicolo di significato e materia plasmabile. Dopo una panoramica introduttiva sulla forma d'arte in questione viene presentato un tracciato storico sulle figure e le opere emblematiche a partire dalle esperienze delle Avanguardie del secolo scorso sino ai nostri giorni.
13
McGinley, Robin. „Breaking the sound barrier : explorations in experimental sound, art, soundscape research and interactive systems“. Thesis, De Montfort University, 2009. http://hdl.handle.net/2086/2395.
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This study proposes a synthesis between the three core inter-disciplines of sound art, interactive systems and soundscape research as the basis for the creation of a series of unique interactive sound installations and related projects. These works, created and presented by Interactive Agents, the author’s production company, explore aspects of the sonic environment, either in urban or natural locations or in the electro-magnetic domain. The notions of interactivity explored throughout this thesis are of a specialist nature, and the three main installation projects each utilise custom-built solutions, which eschew widespread computer technologies for discrete electronics, ensuring the seamless integration of artistic intention and interactive realisation. The sublimation of certain technological elements is explored as means of encouraging an audience to approach a work on its own terms unencumbered by everyday technological experience. The concept of an audience member is itself re-cast as an InterActor, at once a listener, viewer and performer and it is with reference to this term that the audience’s experience and impact on a work is conceived, deployed and evaluated. The sound material of each of the projects range from sonic reflections of the Stockholm soundscape elicited from its inhabitants to sonifications of electro-magnetic phenomena related to the operations of the Earth, the Sun and the wider universe. In certain cases the examples incorporated into the works were created by leading research scientists and thus this study not only repositions the outcomes of scientific research as artistic material, but also suggests that, in so doing, something of the classical unity between the arts and the sciences is regained. The thesis is presented in seven chapters, with the descriptions of the practical works preceded by an introductory chapter that explores related theoretical and contextual issues. The thesis culminates with a consideration of the development and reception of an exhibition where the sonic and interactive strategies discussed were presented.
14
Csinos, David M. „Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation“. Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.
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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
15
Wenrich, Richard Joseph. „Sound and fury“. Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2021.
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16
Apprich, Franziska-Maria. „Film-sound as art : a study of sound in cinema presented in theory and practice“. Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.
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17
Labelle, Brandon. „Background noise : sound art and the resonance of place“. Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422279.
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Bhaugeerutty, Aruna Devi. „Sound art : discourses of definition on the contemporary artworld“. Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4092.
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Since the turn of the millennium, the term 'sound art' has gained increasing prominence while generating persistent discussion and debate. This study explores questions surrounding the definition of sound art through an analysis of these discourses. It also applies a Foucauldian notion of discourse to the concept of genre in order to promote a non-essentialist definition of sound art that is pursued through a project of clarification rather than classification. The research draws from a wide range of sources, from online symposia, magazine articles and publications to art exhibitions and their materials, to expose some of the conflicting and convergent representations of sound art within the artworld. Critical analysis of key ideas and themes identified in this source material is supported through reference to the history and theory of art and music as well as genre and culture. Sound art is an ambiguous and mutable concept that shares concerns with other forms such as experimental music and sonic art but has also developed specific generic meaning. Despite an apparent reluctance to define sound art, the category plays an active and important role within the institutions, industries and academies of the artworld. High-profile survey exhibitions such as Sonic Boom (Hayward Gallery, London, 2000) and Volume (MoMA PS1, New York, 2000) have been a major contributing factor to the growth but also uncertainty of sound art's discourse due to their idiosyncratic and inconsistent representations of the genre and the ways in which sound challenges artistic traditions of display. They also highlight ideological tensions relating to the categorisation of contemporary art in postmodernity, which is rooted in modernist concepts of media, in showing how sound art simultaneously invites and resists definition. Sound art is typically concerned with issues of sound, space and perception. There are many competing interpretations of these definitional ideas, however, arising from a simultaneous association with and differentiation from the traditions of music and the visual arts. The ensuing institutional battle of territories and phenomenological battle of the senses pulls towards and away from the visual respectively. This unique cluster of tensions underpins the discourse of sound art and affords a categorical porosity and liminality that ultimately characterise it. Issues of definition are therefore central to the identity of sound art. An in-depth understanding of the ontological debates and dialectics within its discourse not only draws attention to sound art as a conceptual, philosophical and material exploration of artistic and human experience but also exposes the way in which the arts evolve and artistic meaning is created to provide an insight into the very nature and value of art itself.
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Karle, Ryan. „Leveraging Sound, Space and Visual Art in an Installation“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Hart, Charles J. „Architecture of light and sound“. Thesis, This resource online, 1997. http://scholar.lib.vt.edu/theses/available/etd-09092008-063818/.
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Cranfield-Rose, James (Brady). „Writing about Six Sounds Works /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
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22
Greenlee, Shawn E. „Erratic interpretation: Drawn sound in Augur“. View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318388.
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Thesis (Ph.D.)--Brown University, 2008.Advisor : Todd Winkler. Includes supplementary digital materials: DVD 1. Audio -- DVD 2. Video. Special graduate studies are in computer music and new media. Includes bibliographical references (leaves 137-146).
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Wang, Linlin. „The sounds on the Silk Road from Xi'an to Urumqi. Soundscape, recording and exposition of the sound“. Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672184.
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The main objective of the doctoral thesis is to study the Soundscape in the Chinese route of the Silk Road based on the premises issued in 2003 by the Convention for the Safeguarding of the Intangible Cultural Heritage of UNESCO.
In China, no application of this agreement has been used. The research proposed by the doctoral thesis is an important precedent in applying the guidelines concerning the study and preservation of intangible cultural heritage.
The Silk Road represents the exchange and integration of Chinese and Western cultures, and its mysterious and remote atmosphere is fascinating. I have longed for the Silk Road since I was young.
I was exposed to sound media art, soundscape maps, and sound sculpture research in the laboratory of Dr. Josep Cerda at the University of Barcelona.
Finally, it presented the idea of applying sound media art to data analysis of the sound on the Silk Road and archival records.
The General Conference of the United Nations Educational, Scientific and Cultural
Organization.
UNESCO, at its 32nd meeting, held in Paris from September 29 to October 17, 2003. Approved the Convention for the Safeguarding of the Cultural Heritage Intangible, the intergovernmental agreement that Recognizes that communities, groups, and individuals play an important role in the production, safeguarding, maintenance, and recreation of intangible cultural heritage, thereby contributing to enriching cultural diversity and human creativity.
It considers the importance of the Soundscape as an exponent of cultural diversity.
The General objective of this doctoral dissertation is to apply the intangible cultural heritage protection formulated by UNESCO to
"Using sound media art to record and protect the sound landscape of typical areas on the Silk Road."
Through a literature review of Western sound research and the current sound landscape research status in China, China is currently conducting sound landscape research and research on a certain designated area. Quantitative analysis exists, but there is no study on "The sounds on the Silk Road from Xi'an to Urumqi."
The Silk Road is a vast area and has many research limitations in terms of geography. This research uses ethnographic research as the main research methodology, and finally determines the research site in China from Xi'an to Urumqi in Six specific regions.
In Chinese history, the Silk Road started from Xi'an, Shaanxi Province, and ended in
Xinjiang Province, the last region connecting China with Eurasia.
I passed through the Longmen Grottoes in Luoyang, Henan Province, the surround-ing areas of Mogao Grottoes in Gansu Province, and the surrounding regions of Qin- ghai Lake in Xining City Qinghai Province. As the gathering area of ethnic minorities in the southwest of China's Silk Road, Yunnan Province also includes this doctoral thesis research.
Try to find the voices on the Silk Road that are most worthy of investigation and preservation, and conduct field investigations and quantitative analysis.
The purpose of the research is to use a sound media library, soundscape map, and sound art museum display to reflect the ecological landscape environment of the Silk Road, the urban human environment, and the status quo of historical relics. Based on this, establish a sound landscape database.
To form a digital map of the Soundscape, making it an important carrier for the protection and inheritance of the sound landscape on the Silk Road, as a basis for academic and theoretical research on protecting intangible cultural heritage on the Silk Road.
The second objective of the research is to establish a sound media art laboratory and a sound documentation center in Shanghai Donghua University and Shanghai Arts & Design Academy, to supplement the current lack of sound media art as a research direction in design education in China. The third research goal is to apply future sound media art combined with big data artificial intelligence to serve society.
Apply intelligent sound design as an essential means of exhibition and display and demonstrate in Chinese museums.
In terms of research conclusions and social influence, this doctoral thesis puts forward for the first time "the application of sound media art to protect and inherit the soundscape of the Silk Road". First of all, a set of core methodology and research techniques in the research of this doctoral dissertation applied to the academic study of soundscape protection on the Silk Road. Due to the limitations of the research funding and time of the doctoral thesis, only investigate six important areas. I will not terminate this research because of the end of this paper. Researchers will continue to study some other sub-important regions of the Silk Road in China. This doctoral thesis will lay a theoretical foundation for China and the world to study the "Silk Road" soundscape research.
Introduce the establishment method of sound media library into the design art education of Chinese colleges and universities. To make up for the lack of research in Chinese universities that specifically focus on sound art design instead of music theory research under art design research. The third is to create a sound media library and make an interactive multimedia map to be applied to the soundscape guide of the future cultural journey.
Use digital media technology and sound media art principles to design a virtual interactive sound museum. Establish a complete set of sound expressions, protect and Inheriting the Soundscape of the Silk Road while driving the richness of cultural tourism in the southwest and northwest regions of China. The audience can understand the history and culture of the Silk Road through acoustic sensory experience in multiple dimensionsLa finalidad de esta investigación es establecer un archivo sonoro de la Ruta de la Seda, en su recorrido en China, aplicando las directrices de la UNESCO, establecidas en la Convención para la Salvaguarda del Patrimonio Cultural Inmaterial, a partir de una metodología teorico-práctica de recogida de datos mediante grabaciones de campo y geolocalizadas mediante mapas sonoros. A lo largo de los 5 años de investigación, se ha podido constatar la transformación cultural de la zona de estudio debido a la irrupción de las nuevas tecnologías y la creciente industrialización, aspectos que constatan la necesidad de este tipo de investigaciones que hemos llevado a cabo, ya que los sonidos tradicionales del paisaje sonoro de la Ruta de la Seda están en vías de desaparición, por lo tanto es muy importante preservarlos para el futuro mediante la creación de un archivo sonoro.. En la investigación se han introducido elementos tecnológicos importantes, sobre todo en lo que hace referencia en la exposición de los sonidos del paisaje sonoro y en el diseño de un espacio expositivo interactivo especialmente diseñado para presentar estos sonidos y demás aspectos de la tradición cultural y artesana de la Ruta de la seda. Se ha partido de los estudios realizados por el investigador canadiense R. Murray-Schafer que se desarrollaron en la década de los años 70 del siglo pasado en la Universidad Simon Fraser de Canadá, y que han ido evolucionando hasta la actualidad por las aportaciones sucesivas de I. Westercamp y B. Truaux, que dieron como resultado el Word Sounscape Project, que es el origen del trabajo de investigación que hemos llevado a cabo. Toda la investigación se ha llevado a cabo en el mismo lugar de estudio de la Ruta de la Seda, en su tramo Chino. La gran mayoría de las grabaciones de campo y las imágenes fotográficas, así como las entrevistas y diseño expositivo han sido llevadas a cabo por la autora. Así mismo cabe remarcar que el estudio de las fuentes bibliográficas se han realizado en la mayoría de las veces a partir de libros y artículos redactados en el idioma mandarín, por lo que la accesibilidad a las fuentes primarias, hacen de esta tesis un trabajo de investigación muy importante.
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Wynne, John Peter. „Hearing Voices: Sound Art Practice in a Cross-Cultural Context“. Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485559.
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This dissertation is concerned primarily with the body of workwhich has eme~ged from the author's project with endangered click-languages in the Kalahari Desert. It looks at the development of his sound art practice by tracing the work leading up to Hearing Voices and by discussing the directions it has taken since the completion of that project. Itexamines the dichotomy in contemporary (sound) art betweenwork which deals with ethnic identity and otherness and that which does not and outlines the ways in which the author's practice attempts to bridge this gap. Detailed examination of the socio-linguistic context ofhis work with Khoisan languages leads to an investigation of the issues and ethical responsibilities of cross-cultural practice. Links between acoustic ecology and language ecology are explored and consideration given to the way Hearing Voices and other works explore the boundaries between language and music, documentary and abstraction. The possibilities for new relationships between sound and (still) image are assessed through the author's use ofnew flat speaker technology and, through an examination of the differences in approach required for the various media used in the Hearing Voices project (installation, radiophonic work, CD-ROM and work for multi-channel co1!cert diffusion), the roles each of these forms can play in research-led sound art projects will be considered.
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Spinks, Tansy. „Associating places : strategies for live, site specific, sound art performance“. Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8752/.
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Claims for originality in this thesis lie in bringing together many different disciplines in art, music, sound studies and performance. The methodology, contextually indebted to the dialogues of site specific art, performance, and sound improvisation, has emerged as a multi-disciplinary one, informed in part by the study of those artists from the 1960s onwards who actively sought to resist the gallery system. The practice has driven the thesis in developing and continuously testing the requirement to respond uniquely to chosen sites. By using relevant references, instruments, and sonified materials, a compulsion to convey something of the particularity of the site’s associations through sound, is performed on site. In the course of considering the wider implications of a site through both the sound performances and the critical writing, I propose that there are essentially three aspects to identify when working with sound on site. I define these as: the actual the activated the associative The first aspect describes what is essentially inherent to the place, the second what can be encouraged to be ‘sounded’ through physical intervention, and the third outlines and forms what I have coined as the wider material of the site. This term draws on any relevant aspects of the social, physical, historical, anecdotal, and aural associations that a site may proffer. However, it is the notion of the associative that primarily informs the research by providing a methodology for the practice and in proposing a new paradigm of a live, site specific, performed, sound art work. The twenty or so works in the portfolio undertaken hitherto have existed not only as live performances but also in virtual and physical documentation, critical 4 analyses, and in the potential possibilities brought to the form by the response of others. By addressing this new taxonomy of approach in defining the actual, the activated and the associative as a kind of aural ground to the site (borrowing a term from painting), significant live sound art works have been developed to temporarily inhabit a space by exploring this latent material of the site.
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Koutsomichalis, Marinos G. „A hypermedia and project-based approach to music, sound and media art“. Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.
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This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.
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Beeston, Rob. „The intrigue of travelogue : sound and the social imagination“. Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250429.
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Muir, Pete. „The art of the record producer“. Thesis, Queensland University of Technology, 1999.
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The record producer has played an extensive role in the development of music aesthetics since the 1950's yet has remained virtually anonymous, save for a few notable
exceptions. In this time, producers have developed an art form that exists within the design, capture and rendering of sound. This art form is distinct from the music composition and performance and should receive appropriate acknowledgment. This paper identifies the defining factors of art. These elements are explored through theoretical and practical discussions to establish the artistic contributions of the producer.
Through the use of technique - the producer's craft in recording technology, and through the use of form - the producer's design of various layers of recording from
composition to mastering, they control the artistic outcomes of the record, which ultimately impact aesthetically on the listener. Therefore the producer is indeed an artist.
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Moraitis, Catherine. „The art of David Lean : a textual analysis of audio visual structure“. Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250344.
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Metcalfe, Paul N. „Learning and teaching the art of sound design: An analysis into determining best practices“. Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/102704/8/Paul_Metcalfe_Thesis.pdf.
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The aim of this study was to investigate the learning and teaching of sound design in higher education contexts. Two main aspects were examined: firstly, an investigation into published resources, addressing sound design as creative practice, and, secondly, an examination of the relationship between technical process and creative skills development within curriculum design. The perceived educational benefits were also investigated, of collaborative projects and other practical exercises, contrasting them with technical, skills-based learning. Finally, the study suggests avenues for future development that may provide better access to reference materials that support sound design students' development as creative, industry ready practitioners.
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Gillette, Amy Elizabeth. „Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art“. Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.
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Art HistoryPh.D.
The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels’ liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels’ song; by modeling the angels’ roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to “angelize” people’s mental worlds and ritual behaviors.
Temple University--Theses
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Williams, Carolyn. „Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /“. AUT University, 2007. http://hdl.handle.net/10292/136.
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This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on 'voice' as a way in which to explore these concepts through visual means. Voice is considered as something which projects or articulates or otherwise could be described as 'speaking'. For example voice is considered in relation to thought, and also the human experience of sound in space. This includes sound generated by self, intrinsic and extrinsic to the body. Voice plays two roles - one as a space from which to retrieve the unseen, and the other as a drawing tool - a way in which to represent what seems unrepresentable.
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Rowe, Lois. „The address of spirituality in contemporary art“. Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.
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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.
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Hollerweger, F. „The revolution is hear! : sound art, the everyday and aural awareness“. Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546359.
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Genevro, Bradley James. „The Art of Recording the American Wind Band“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.
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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.
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Hull, Aaron Coates. „Corroded memories“. Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.
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This thesis seeks to examine the concept of the corroded memory, an idea that has driven the development of a large body of original creative work which includes performances, compact disk recordings, audio walks and video installations. I have completed this work during the last four years of part time study as a Master of Arts - Research student, enrolled at the University of Wollongong, Faculty of Creative Arts.In this thesis I examine, analyse and provide a context for a variety of publicly presented sound andvideo works. The conceptual framework and intent, together with the compositional techniques employed in each work are documented along with a self-evaluation of the various failures and successes of these works. Where necessary I will allude to references of work and ideas by other artists, composers and musicians who have influenced my work.This thesis was written to clarify ideas that are central to my folio of creative and curatorial work. My folio can be found on companion music CDs and DVDs. The text of the thesis which includes five appendices with a more detailed description of each work will have most significance for those readers who refer to the documented performances supplied on recorded media.
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Greedy, Paul Maxwell. „Listening to Objects: Sound as an Expression of Material Flux“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.
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This research paper examines the use of sound in art as a means to explore processes of movement, transformation, and change as they operate within the physical relationships that exist between energy, matter and space. It situates the author’s own material-based sound art practice in relation to its primary historical and contemporary influences, identifying critical developments in art making that offer creative, conceptual and practical insights into the nature of physical processes. In doing so, the paper locates the origins of sound art within late 20th century sculpture, experimental music, and installation practice, and introduces a number of key concepts that form the underlying theme of sound as a manifestation of temporal and material flux. This theme is developed through a focus on energy, considering how sound can be deployed to model and access energetic flows. The discussion is framed around particular art practices that employ the mediation of sound to explore the physical dynamics of sound energy and its expressive relations to space and matter. The paper explains how environmental aspects of sound conjure certain modes of listening, and explores the use of simple sounds and methods of technological transduction as means to evoke and make perceivable the intangible qualities of natural processes. The creative works produced over the course of the author’s research reflect the practical and conceptual objectives that drive this research paper. These works deploy experimental methods drawn from the field of science (particularly acoustics) to guide their particular approach to sound as a material medium. Such works include Mandala (2012) and Sifting (2014), which incorporate Cymatic systems aimed at conveying the dynamics of sound energy in visual form, and Pressure Vessel (2014) which explores processes of thermo-acoustic transduction and the propagation of acoustic energy in space. A sustained investigation into the system of electro-acoustic transduction developed by American experimental composer Alvin Lucier’s Music on a Long Thin Wire (1977) also forms a central line of enquiry within this research-based practice, resulting in a series of works that culminate with Untitled, Wire No. 6 (2017). Through its various manifestations, this prolonged experiment witnesses the affects of material and environmental variables on Lucier’s system. A number of these works are discussed at length within the research paper.
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Bérubé, Gabriel. „Expériences sensibles et design urbain, un projet de recherche création : les productions sonores ordinaires des usagers en espace collectif urbain, le cas des traces sonores de pas“. Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH025/document.
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Dans cette thèse, nous souhaitons explorer la valeur heuristique des sons de pas de l'usager dans l'espace collectif urbain. Cette intention est à l'origine, celle d'un intérêt concernant les productions sonores ordinaires de l'usager, de leurs aspects productifs et actifs à l'intérieur de son expérience quotidienne de la ville. Suite à ce dessein, la notion de trace sonore a été développée afin de mieux saisir, catégoriser et caractériser ces sonorités particulières et ordinaires engendrées par l'usager via ses actions. Souvent ignorées, restant au niveau de l'inconscient de l'usager, les traces sonores de pas font partie de ces sons produits par l'usager, mais qui ne sont pas étudiés dans les domaines liés à l'aménagement. Nous souhaitons alors en connaître davantage sur la teneur des informations que peuvent contenir ces traces sonores de pas et surtout sur les potentiels d'action qui, selon nous, y sont attachés. En résumé, nous cherchons à savoir ce qu'un pas peut nous dire au travers des traces sonores qu'il laisse suite à sa production. C'est ainsi que nous énonçons l'hypothèse que les traces sonores de pas sont porteuses d'informations clés sur l'usager producteur et acteur, sur les autres usagers ainsi que sur l'espace et ce, à même l'expérience sonore en « train de se faire ». Afin de saisir et questionner spécifiquement cette dimension de la trace sonore de pas, une méthodologie singulière a été construite venant interroger l'usager directement sur son vécu sonore, au moment de sa construction. La recherche création et la recherche projet nous ont donné le cadre, mais aussi la latitude nécessaire au développement d'un outil novateur propre à notre problématique : le dispositif sonore. Le dispositif a donc été installé sur quatre sites d'intervention : une terrasse et le parvis de l'ENSAG, une passerelle à proximité des locaux d'un collectif d'artistes et une passerelle située dans un parc urbain à Nantes. Entre immersion et observation, entretien et travail vidéographique, en lien avec le domaine de l'art sonore, notre recherche croise les dimensions sonores, spatiales et usagères. Les analyses conduites s'attardent à révéler et restituer les comportements, conduites, micro-mouvements, gestes et attitudes effectués par les usagers. Les résultats intéresseront le domaine de l'environnement sonore ainsi que le milieu de la conception architecturale et urbaine. En effet, cette recherche propose une meilleure compréhension du rôle des traces sonores de pas dans la composition des espaces collectifs urbainsIn this thesis, we explore the heuristic value of a user's footstep sounds in the urban public space. This intention is originally one of a common interest in user sound productions, their productive and active aspects within the daily experience of the city. To achieve this, the concept of sound trace has been developed in order to better understand, categorize and characterize these special and ordinary sounds produced by the user. Often ignored, remaining unconscious to the user, footstep sound traces are part of the sounds he produces, but are not studied in the fields related to urban design. We thus want to learn more about the information content of footstep sound traces, and especially about the potential of action that we believe are related to them. In summary, we want to know what a footstep tells us through the sound traces it makes. We thus state the hypothesis that footstep sound traces carries key informations on its producer, the other users as well as the space, all this throughout the sound experience “in process”. To capture and question this specific aspect of the footstep sound traces, we built a unique methodology that questions the user in real-time on his sound experience. Research design and research project gave us the framework, and the flexibility to develop an innovative tool specifically designed for our problematic : the sound device. The device has been installed on three sites : a terrace and the front of the ENSAG, a footbridge near the studio of a collective of artists and a footbridge located in a city park of Nantes. Between immersion and observations, interviews and video work, in connection with the field of sound art, our research crosses sound, space, and practice dimensions. The analyses reveal the behavior, conduct, micro-movements, gestures, and attitudes made by the users. The results will be of interest in the fields of sound environment as well as architectural and urban design. Indeed, this research offers a better understanding of footstep sound traces roles in the composition of urban public spaces
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Smuts, Lyn. „The visualization of sound : an investigation into the interplay of the senses in artmaking“. Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.
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Eernstman, Natalia. „Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.
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This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined message; instead the meaning of something is collectively made throughout the process. Where the shift from instrumental, technocratic approaches to participatory, intersubjective and open-ended approaches to sustainable development is relatively new in the social sciences, artists arguably have a longer legacy working in non-instrumental and ‘goal-searching’ ways. Subsequently, this thesis proposes a range of artful approaches that would allow educators to create spaces in which meaning is mutually created. These are the result of three research activities: the researcher interviewed artists, she participated in practices of artists, and reflected upon her own making process in which she conceived social learning as a contextual arts practice. Where this thesis takes social learning into new areas of knowledge is in the way that it conceives the meaning of sustainable development as continuously coming out of the present. Despite a professed action-oriented and experiential rendition of sustainable development, academics in the field of learning for sustainability present the concept as theoretical and abstract: it exists separated from the lived world of practice that it draws meaning from. This thesis argues that the key potential of art lies in counteracting such excessive objectification of socio-environmental issues. Through locative meaning-making, for example, meanings are derived from the here and now rather than from abstracted terms. Consequently, social learning should not strive for sustainable development as an objective, general goal in itself. Instead the learning should be conceived as an emergent process that is driven by an active vehicle, score or invitation that generates an interaction-rich environment in which meaning-making can happen. Sustainable development then threads through the fabric of whatever is happening, rather than being a focus on its own.
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Garrelfs, Iris. „From inputs to outputs : an investigation of process in sound art practice“. Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8342/.
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This practice-based thesis aims to expand sound art discourse by considering process in sound art practice through an exploration of artists’ experiences. There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates how they relate to and interact with each other. In order to explore process, I have borrowed from and extended concepts from the model of conceptual blending, a theory of cognition developed by Gilles Fauconnier and Mark Turner in The way we think: conceptual blending and the mind’s hidden complexities (2002).1 Through the notion of inputs, which are blended through process into outputs, the model of procedural blending, adapted from conceptual blending, illustrates how new meaning is created, providing a basis for the investigation of process in sound art practice for inclusion in its discourse. This exploration is carried out through a modular approach to methodology, which I have termed Modular Field Methodology. I first examine my own past and current work, which offers me the opportunity directly to observe process within my practice and to observe how new themes and views emerge from an engagement with new inputs. The examination of my past and current work also provides a space to gain a deeper understanding of procedural blending in sound art practice. This ‘introspective approach’ is then calibrated by an investigation of the practice of other artists, through collaborative workshops, interviews and an online magazine, each providing different spaces for a wide range of practitioners’ voices reflecting on the diversity and complexity of multimodal sound art practice.
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PINEL, D. J. „DE JOHN CAGE A JANET CARDIFF, A SOUND ART EM PERSPECTIVA HISTÓRICA“. Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8476.
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Made available in DSpace on 2018-08-01T23:30:05Z (GMT). No. of bitstreams: 1
tese_10073_dissertação dimitrio pinel.pdf: 23648598 bytes, checksum: 51d9f1c4fdc095b7ad118020978d0c8e (MD5)
Previous issue date: 2016-08-10Esta pesquisa discute sobre questões do embate entre o moderno e o contemporâneo, e tentará mostrar como o surgimento da instalação artística tornouse um gênero essencial para as realizações dos artistas que trabalharam o conceito da sound art. Nesse sentido, esta dissertação terá como recorte os movimentos que tiveram grande dimensão nas décadas de 1950 até 1970, como o minimalismo, a pop art, e particularmente, a música experimental. Portanto, nosso ponto de partida começa com o surgimento da instalação artística, passando pelos pioneiros da música experimental até chegar aos artistas contemporâneos que utilizam o som como linguagem. Tratamos sobretudo do caráter histórico e panorâmico, visando mostrar não apenas o processo de criação da sound art, mas o caminho no qual ela percorreu, sua repercussão e sua relevância para arte contemporânea. Palavras-chave: Música Experimental, Instalação, Arte contemporânea e sound art
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Oldrini, Eleonora <1988>. „Sound Art per il Borgo di Castiglione Olona: un progetto di valorizzazione“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3860.
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La tesi tratta la progettazione di una mostra di Sound Art inserita nel borgo di Castiglione Olona, un affascinante sito medioevale a pochi passi dalla città di Varese.
Le opere sono collocate nei punti cruciali del sito. Esse si pongono in relazione al contesto e ne concorrono alla sua valorizzazione: la contaminazione sensoriale determina nuovi scenari, nuove visioni e quindi nuove memorie che si aggiungono alla conoscenza consolidata del luogo.
Il sito diventa quindi cornice di un evento che verrà ad assumere nuove connotazioni.
L’elaborato sviluppa le questioni tecniche e gestionali del progetto ed è affiancato da approfondimenti circa la storia del borgo e il fenomeno della Sound Art.
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Yuksel, Onur. „A Sound-Based Intervention for The Artistic Encounter“. Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-329941.
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Art experience, as an important contributor to intellectual experiences, has been studied by many researchers and philosophers to unearth and enhance certain qualities of it [9,16,21,22]. One of the ways of interpreting profound forms of art experience has been relating it with “flow,” a term that indicates a holistic sensation with the act of total involvement, concentration, intrinsic enjoyment and action-awareness [7]. Previous studies argue that looking at art experience as a form of flow, reveals its structural characteristics and dynamics more clearly, and thereby discuss art experience as a flow-conductive activity [8]. Along with that, the flow phenomenon has been studied in the context of musical activities and argued to have strong links with the musical domain [3,5]. Little is known at the moment about how musical sound can facilitate flow in the context of an art experience. This study presents a research through sound design process, with the purpose of facilitating an enhanced art experience i.e., facilitating flow in the artistic encounter. The study presents two primary contributions: (1) a presentation of the design process, consisting of an explorative prestudy at Moderna Museet in Stockholm, a followup sound experiment in an artistic encounter and (2) findings from the evaluation at Uppsala Konstmuseum, focused on identifying the impact that the designed sound artefact has had on individuals’ experiences. The author argues that the sound artefact may create an immersive environment, help initiate the mindset for introspection through the interactive characteristics and elevate conditions for flow to an observable extent. Lastly, critical reflections on the design process are also included in the final chapter to benefit research through sound design community.Konstupplevelsen, som en viktig bidragande faktor till den intellektuella upplevelsen, har studerats av många forskare och filosofer i syfte att demaskera och förstärka dess särskilda karaktärsdrag [9,16,21,22]. Ett sätt på vilket sofistikerade former av konstupplevelser har tolkats har varit genom “flow”; ett begrepp som betecknar en holistisk förnimmelse genom totalt engagemang, koncentration, inneboende njutning och handlings-medvetenhet [7]. Tidigare forskning hävdar att genom att se konstupplevelser som ett “flow” avslöjas dess strukturella karaktärsdrag och dynamik på ett tydligare sätt. Konstupplevelsen undersöks på detta sätt som en aktivitet upplevd genom “flow” [8]. Vidare har begreppet “flow” studerats i relation till musikalisk aktivitet och har ansetts ha starka kopplingar till musikens område [3,5]. Kunskapen är i nuläget begränsad kring hur musikaliskt ljud kan främja “flow” i relation till en konstupplevelse. Denna studie baseras på metoden forskning genom design och har som syfte att främja en förhöjd konstupplevelse, med andra ord att underlätta “flow” i det konstnärliga mötet. Studiens två huvudsakliga bidrag består i: (1) en presentation av designprocessen genom en explorativ förstudie på Moderna Museet i Stockholm, ett uppföljande ljudexperiment i ett konstnärligt sammanhang och (2) resultaten av en utvärdering gjord på Uppsala Konstmuseum med fokus på identifieringen av vilken effekt den designade ljudartefakten har på den individuella upplevelsen. Författaren hävdar att ljudartefakten kan bidra till att skapa en omslutande miljö, bidra till att initiera ett introspektivt tankesätt genom de interaktiva karaktärsdragen samt öka förutsättningarna för “flow” i märkbar omfattning. Slutligen har kritiska reflektioner över designprocessen inkluderats i det sista kapitlet i syfte att bidra till forskningen inom ljuddesign.
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Szabo, Moira. „For the love of music : avenues of entry into the world of western art music /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11342.
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Klimas, Matthew L. „Argent Sound Recordings: Multimodal Storytelling“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.
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ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.
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Magnus, Cristyn. „Evolutionary sound a non-symbolic approach to creating sonic art with genetic algorithms /“. Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3396736.
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Thesis (Ph. D.)--University of California, San Diego, 2010.Title from 1st page of PDF file (viewed Mar. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes 3 compact discs containing audio examples for the dissertation. Includes bibliographical references: P. 137-142.
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Doyle, Kaitlin Cavanaugh. „EXQUISITE MIND, EUPHORIC KNOWING: SOUND, LANGUAGE, AND CONSCIOUSNESS IN EXPERIMENTAL MUSIC AND CONCEPTUAL ART AFTER 1960“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case152293207480721.
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Swinney, Warrick. „Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa“. Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30517.
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This project is situated in the area of sonic art and explores my personal biography in relation to sound, silence, censorship and social control. Using the artistic productions of John Cage, I examine silence as both an object—a recording in a fixed medium—and as a verb directly addressing the question of censorship of the self and of others. The interplay of silencing and silence is expressed in my artistic practice which employs, as audio palate, the silences between the words of significant political speeches from South Africa. As a consequence of this process I have excised all recognizable words in various aural and video works leaving only the 'Cagean’ noise of the silence. I further examine related aspects of silence and silencing through the metaphor of the mute button—a mechanical silencing device—which serves both as a creative tool in a recording studio as well as a censorial
device to prohibit voices being heard. The beating, hitting and silences are all set against a backdrop of (post) apartheid South Africa for the expression of some of my personal and theoretical realisations.
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Miller, Nolan W. „Athenian Acoustics: A Sonic Exploration“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
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