Dissertations / Theses on the topic 'Sound installations (art)'
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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.
Full textTitle from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
Full textMiller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
Full textHull, Aaron Coates. "Corroded memories." Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.
Full textWilliams, 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.
Full textWoods, Linda Del. "Seven sacred spaces : an intertextual investigation." Thesis, Queensland University of Technology, 2002.
Find full textLe, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.
Full textThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
Silva, Lilian Campesato Custódio da. "Arte sonora: uma metamorfose das musas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17062008-152641/.
Full textThe main purpose of this research is to map the central aspects that can be observed in a representative repertoire of art works that since the 70\' is been labeled Sound Art. This work starts from the research and analysis of this repertoire based on the available bibliography, audiography, exhibitions\' catalogues and other sources. A representative number of artists are investigated and their work analyzed. From this research it becomes evident that this repertoire is extremely large ample and divergent, and that the delimitation of this field is a difficult task. However, for the accomplishment of a mapping of the main concepts that area related to Sound Art, we proceeded the analysis of a number of works. Three basic references are investigated: Electroacoustic Music; Installation Art and Performance. Afterward the research investigated five aspects that we consider to be of fundamental importance to the comprehension of this repertoire: Sound, Technology, Interaction, Space and Time
Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.
Full textCentola, Nicolau André Campanér [UNESP]. "Anthemusa: o som e o acaso em ambientes sonoros." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139563.
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Esta tese de doutorado parte da hipótese de que a incorporação consciente do acaso no processo criativo artístico que envolve a arte sonora é um elemento fundamental para a configuração de uma estética própria na atualidade. Para testar esta hipótese, foi analisada a aplicação do acaso nas artes sonoras a partir do século XX e suas implicações na produção de linguagem baseada neste conceito utilizando dispositivos computacionais. Como consequência deste estudo, foi proposto o desenvolvimento e a implementação de uma instalação sonora, chamada Anthemusa, na qual foram aplicados os preceitos do acaso como elemento principal de criação artística.
This doctoral thesis develops from the hypothesis that the conscious incorporation of chance in sound art’s creative process is a key element in the configuration of its aesthetic. In order to test this hypothesis, we analyse twentieth century sound art and its use of computational devices. As a consequence of this study, we propose the development of a sound installation entitled Anthemusa that, invariably, applies the precepts of chance as its central element.
Drummond, Jon R. "Interactive electroacoustics." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.
Full textLe, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.
Full textThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
Mamedes, Clayton Rosa 1983. "Design sonoro e interação em instalações audiovisuais." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285310.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente tese descreve o processo criativo das instalações audiovisuais interativas Abstrações, Cerejeira e Caminho das águas, relacionando-as ao objetivo principal da pesquisa, que consiste em analisar os mecanismos de integração entre o projeto conceitual de cada instalação, seu design sonoro e os processos que modelam a interação dos visitantes com a obra. Este objetivo é alcançado através de uma abordagem prática ao processo de pesquisa, a qual foi realizada através da criação de novas obras e a respectiva avaliação sobre o comportamento dos visitantes, processo repetido a cada etapa deste trabalho. O trabalho contempla a análise e a localização de nossas referências para os conceitos de instalações, design sonoro e interatividade. Apresentamos uma proposta para estruturação do design sonoro baseada na espectro-morfologia de Denis Smalley, utilizando este conjunto teórico como modelo para estruturar a relação entre o som e o conteúdo referencial da obra, e entre o som e o modelo interativo que se pretende abrir aos visitantes. Implementamos um conjunto de descritores de propriedades físicas para o movimento e desenvolvemos um conjunto de descritores baseados na fusão de dados sobre as propriedades físicas do movimento, com a intenção de descrever as classes de Esforço para a Análise de Movimento Laban. Estes descritores objetivam suprir deficiências do modelo interativo utilizado no início da pesquisa, durante o desenvolvimento das instalações Abstrações e Cerejeira. A instalação Caminho das águas integra os desenvolvimentos alcançados pela pesquisa: uma nova abordagem para a relação entre o projeto conceitual da obra, seu design sonoro e o modelo interativo revisado. Um extenso estudo com participantes aplicado sobre esta instalação permitiu avaliarmos os resultados alcançados a partir das hipóteses levantadas durante o desenvolvimento da pesquisa
Abstract: This thesis presents the creative process of the interactive audiovisual installations Abstrações, Cerejeira and Caminho das águas, relating them to the main objective of the research, which consists in the analysis of the models that integrate the conceptual project of each installation, its sound design and the interactive processes that model the relation between visitors and the work. This objective was achieved through a practical approach to the research process and was implemented by the designing of new installations and the respective evaluation about the behavior of visitors. This process was repeated at each step of the research. This work includes the analysis and origin of our references to the concepts of installations, sound design and interactivity. We present a proposal to structure sound design based on the spectro-morphology developed by Denis Smalley. We propose the use of this theoretical corpus as a model to structure the relation between the sound and the referential content of the work, and between the sound and the interactive model that is intended to be open for visitors' participation. We have implemented a set of descriptors to retrieve physical properties of the movement. We also developed a set of descriptors based on data fusion from these physical properties, intending to describe the classes of Effort for the Laban Movement Analysis. These descriptors aim to fulfill shortcomings observed in the interactive model adopted in the early part of the research, specifically during the development of the installations Abstrações e Cerejeira. The installation Caminho das águas integrates the developments achieved by this research: a new approach to the relation among the conceptual project of a work, its sound design and the interactive model adopted. An extensive study with participants applied over this installation enabled us to evaluate the results achieved from the hypotheses raised during the development of the research
Doutorado
Processos Criativos
Doutor em Música
Drummond, Jon R. "Interactive electroacoustics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.
Full textA thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.
Ortiz, Ceron Maria Carolina. "Paysage esthétique de l'installation sonore." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010566.
Full textSound installation is an inter media-based art form that draws particular attention to the component of sound, although not at the expense of its visual underpinnings. Considering that it is a form of art, sound installation refers to sound art, an area that requires separate recognition and independence among existing art forms, due to the use of sound as a means of expression as well as the current artistic preoccupation with it (as reflected in the growing number of sound art demonstrations, blogs and festivals).Among the different experimental practices within sound art, sound installation is clearly favored, thus it would appear that it is becoming an art form in itself. Could it be seen in this way? In this thesis, Sound Installation is viewed as a current art form connected to “Art installation”, a field with its own characteristics: heterogeneous, multi-disciplinary, experimental and hybrid. However, as a singular art form, it is a source of insight, which emerges repeatedly and is amplified by the exploration of both sound and sound perception; for example, sound imaging, the perception of space through sound, listening and its relationship to the position of the listener’s body in space. The purpose of this thesis is to approach the field in which Sound Installation belongs from different perspectives such as history, aesthetics, culture and media. With the question of how to conceptualize sound components always in mind, we intend to contribute to the understanding of an ever –growing contemporary culture of sound
Le, Fur Iris. "La plasticité sonore : la création visuelle et sonore, une interaction sensorielle, émotionnelle et sémantique." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0101.
Full textOn the basis of an artistic practice exploring the vibratory phenomenon of matter, this thesis proposes a reflection on the interactions between sound and visual materials within the same plastic production. It is a matter of analyzing the act of creation comprising a sensoriel arrangement of various auditory and ocular elements reacting reciprocally and causing a mutation of their sensory, emotional and semantic perception. A survey of some of the major 20th and 21st century players in the history of sonic cultural practices will address the issue of the interaction between hearing and sight in an artistic production. The notions of sound plasticity, of vibratory movement through alteration, as well as that of plastic mixing resulting from cultural intermingling will be discussed. secondly, my study will focus on the process of creating a sound installation by vibratory mode, through listening, the process of sound writing and the characteristics of public spaces as an artwork. Finally, the study of the specificity of sound vibration to generate emotions, highlighting the cerebral mechanisms required by bi-sensory perception both in the body of the creative artist and those of the public experiencing the 'artwork
Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
Full textHindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.
Full textGumiela, Josh. "Distance Generation: Postmemory and the Creation of New Family Histories." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/592.
Full textLough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
Full textFerretti, Martinez Ulises Dardo. "Entornos sonoros : sonoridades e ordenamentos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/35083.
Full textThis work deals with the compositional use of sound environments and their reflection. For this research in music composition, sound environments located within urban perimeters were used as a field of study, and as materials for the approach environment / composition that explore the diverse musical capabilities of the sounds that make up the surroundings and the sound of these emerging organizations. As a motivating and cohesive force in the processes undertaken, several characteristics of the listening in the environment and the flux of the sound environment and its variations have been included also. The compositions were realized through acoustic and electroacoustic media comprising the space in different ways.
dalton, timothy. "A Space for Absence." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1660.
Full textOxenham, Michelle L. "Processes of transformation : art into pop and back again." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78374/1/Michelle_Oxenham_Thesis.pdf.
Full textBlatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
Full textTsuda, Carlos Eduardo. "Arte sonora e espaço: estética e novas possibilidades poéticas." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18142.
Full textSound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sound Art. (Theoretical and Methodological Aspects) By dealing with changes in the ways of understanding sound, both in the world of contemporary music and in visual arts, the research describes different formats of the relationship between sound and space, which acquired new meanings in art installation after more recent experiments with sound. Moreover, it examines the forms of perception of sound and how they differ from other languages, since they imply specificities in their ways of spatialization. The concepts discussed here are applied in the analysis of relevant examples for the historical understanding of sound art and the relation between space and sound. (Results) These analysis serve as a theoretical basis for more in-‐ depth case studies, in which the author reflects about his creativive process in different works, such as the sound creation and composition for the contemporary dance spetacle Branco and the sound installation Promenade
Arte Sonora e Espaço: Estética e Novas Possibilidades Poéticas (Objetivos) discute os processos de hibridização entre som e espaço, a partir de um percurso histórico por áreas como a música, a arquitetura, as artes visuais, a engenharia acústica e a performance. Diante da diversidade de abordagens sobre o tema, a dissertação busca relacionar as diferentes perspectivas a partir de um recorte baseado no surgimento da Arte Sonora. (Aspectos Teórico-‐Metodológicos) Tratando das mudanças referentes às diferentes maneiras como o som passa a ser entendido, tanto no universo da música contemporânea como no das artes, a pesquisa intenta demonstrar como a relação entre som e espaço ganha novos sentidos diante das formas instalativas típicas nas experiências mais recentes com som. Além disso, examina diferentes modalidades de percepção do som, e de que modo estes diferem das demais linguagens, implicando em especificidades no que tocante às formas de espacialização. Os conceitos discutidos são aplicados na análise de exemplos pertinentes para o entendimento histórico da arte sonora e das relações entre som e espaço. (Resultados) Estas análises servem como ponto de partida para estudos de caso mais aprofundados em que o autor reflete sobre seu processo no desenvolvimento de obras, tais como a composição sonora para o espetáculo de dança contemporânea Branco e a instalação sonora Promenade
Ollestad, Dana. "Auto Tune." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2812.
Full textMartins, Guilherme de Castro Duarte. "Cartofonias: expedições ao território volátil dos sons." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tede/5846.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The following work aims to investigate the presence of sound on contemporary visual arts, through the study of artworks from artists who make use of the sonic matter to change and make arise new time-spaces in the middle of the daily experience. I investigate mainly the works of the Scotish artist Susan Philipsz (Lowlands, 2010) and the Brazilian artist Raquel Stolf (Grilo, 2006). I start from coining the concept of cartophonies, that would mean sound maps resulting from the cross-over of noises emitted not only from the artworks I study, but originated also from its surroundings, composing puzzles audible and inaudible forces, that circulate around and through these works. As sound maps in constant mutation, the concept of cartophony was produced as a mobile tool for the present research, helping to understand how sound not only represents the space it traverses, but also participates on the creation of the volatile lines of this space, modifying it and being modified by it every second.
Essa dissertação tem por objetivo investigar a presença do som na arte contemporânea, a partir do estudo do trabalho de artistas que se utilizam da matéria sonora para modificar e fazer surgir espaços-tempos em meio à experiência cotidiana. Investigo, principalmente, obras da artista escocesa Susan Philipsz (Lowlands, 2010) e da brasileira Raquel Stolf (Grilo, 2006). Parto do conceito de cartofonias, que seriam mapas sonoros resultantes do cruzamento entre ruídos emitidos não apenas pelas obras estudadas, mas vindos também de seu entorno, compondo jogos de força, audíveis ou não, que rodeiam e atravessam essas obras. Enquanto mapas sônicos em constante mutação, o conceito de cartofonia foi criado como uma ferramenta móvel para a presente pesquisa, auxiliando-me no entendimento de como o som não apenas representa o espaço que percorre, mas também participa na criação e no traçado volátil desse espaço, modificando-o e sendo modificado por ele a todo instante.
Svrckova, Tatiana. "Nexus." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341527229.
Full textVerban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textVerban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textOttavi, Julien. "Les nouvelles formes de pratique sonore en réseau : pratique collaborative, création partagée, Internet comme non-espace, écoute prolongée et installation permanente." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0266/document.
Full textSince the advent of portable technologies and the Internet, many artists conceive their works beyond a given space and time and invent permanent and immaterial forms scattered over the networks. Within the framework of this research, the aim is to produce a series of sound works using the network and collaborative modes of participation, as well as to stimulate discussion of the concepts revealed by these new practices and forms of artistic language: noise, sound poetry and experimental music. This research will focus on the key elements of a connected laboratory of shared sound production: questions will be raised through the lens of the author’s own artistic practice using geodelocalised forms of installation and simultaneous musical performances on the Internet. I will also consider the work and thinking of a community of artists within this field and seek to understand how these artists and theorists formulate their thoughts and create new concepts. Finally, this thesis addresses these creative projects, practices and expertise and articulates a theoretical methodology which draws together current forms of artistic language relating to cutting edge music and poetry and networked practices
Koniar, Martin. "Vazbení." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-377162.
Full textMijouin, Lola. "Invisible Aesthetics of Noise." Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6856.
Full textHouse, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.
Full textA two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
Purdie, Christopher Dennis. "Embedded." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339443969.
Full textStampe, Elin. "Sonar Sea : The acoustic experience of the Baltic Sea dynamics." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7830.
Full textCuevas, Santamaría Sergio Axel. "My MFA Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524073680662621.
Full textWooller, René William. "Techniques for automated and interactive note sequence morphing of mainstream electronic music." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/20232/1/Rene_Wooller_Thesis.pdf.
Full textWooller, René William. "Techniques for automated and interactive note sequence morphing of mainstream electronic music." Queensland University of Technology, 2007. http://eprints.qut.edu.au/20232/.
Full textChen, Yi-Hsiu, and 陳怡秀. "Creating Art Installations by Converting Digital Information into Sound and Images." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23640183634991919761.
Full text元智大學
資訊傳播學系
99
Image and sound are the main elements and sources in digital art creation.Many artists often think up the creative subject by their own life experience, this is a more sensory way to present the work. Although, in digital art field, some artists are also good at engineering or mathematics, so that we can notice some digital art works try to integrate art with science phenomenon. These works presenting some rational aspects of creativity have open up a new horizon in digital art. 〈Tracking〉and 〈Chladni Satellite〉are based on Information Aesthetics,and the main creative principles are Information Visualization and Sonification.Using the digital information such as the projecting image information and the real time data from the Internet, the two art installations attempt to connect the digital information with the sensorial image and sound interactions. To sum up,the art installations by converting digital information into sound and images can be expected to create a novel view for illustrating the origin complex digital information.
Hirschausen, David. "Body space interaction : sound as a spatial mnemonic." Master's thesis, 2007. http://hdl.handle.net/1885/149581.
Full textDrummond, Jon R., University of Western Sydney, College of Arts, and School of Communication Arts. "Interactive electroacoustics." 2007. http://handle.uws.edu.au:8081/1959.7/35367.
Full textDoctor of Philosophy (PhD)
Dziewanowska-Pachowska, Marta. "Dzieło w ruchu. Instalacje dźwiękowe Zygmunta Krauzego, Krzysztofa Knittla i Marka Chołoniewskiego." Doctoral thesis, 2018. https://depotuw.ceon.pl/handle/item/3078.
Full textThe main interest of this thesis is the art of sound installations. “Work in movement” – the term mentioned in the title – refers both to the type of open work distinguished by Umberto Eco and to literally understood connection between work and movement. Following the terminology of Tadeusz Kotarbiński, "work" is understood as the result of an action and not a physical artifact. Movement is the inalienable element of the sounds and their resulting structures. Used in sound installations it also acts as an activator of the interactor’s body.The thesis consists of the introduction, the theoretical part, the analytical part and the closure. The introduction defines the sound installations and reviews their key characteristics: sound, space, time, interactivity and multimedia. The theoretical part is subdivided into two chapters. The first one discusses the XXth century avant-garde movements and artistic directions resulting from them (with emphasis on music trends) as well as the historical sources of the main features of sound installations from this period. The most significant ideas here include the emancipation of sound, reckoning the space dimension as the equal aspect of a music piece, changing the piece's time structure and engaging the participants of artistic events to the active creation of these last. The second chapter concentrates on the perceptual aspects of the modern sound art. It investigates the ways of perceiving the multimedia projects by their participants, with emphasis on the role of the particular senses and the integration of perception in experiencing the art. It highlights the connections and correlations between the sense of hearing and the other senses. As a complement to the perceptual issues, the chapter also looks at the cooperation, understood as the community-driven creation and perception of art. The tradition of a such defined cooperation links to the interactivity matter, widely located in the space of the relationship between the artist, the performer, the participant and the work – both in the preparation and the realization phases of the project. The analytical part is subdivided into methodological introduction and three chapters being dedicated to the artistic activity of the following polish composers: Zygmunt Krauze, Krzysztof Knittel and Marek Chołoniewski. Each of them has realized at least a few sound installations. What differs their works and activities from one another are both the used tools and the technical means and the way of preparing the sound material and forming the space. The chosen composers use different strategies for creating the physical side of their projects and the intended perceptional situation. Consequently, the presentation of their works gives an opportunity to embrace a wide range of the discussed field. Each of the three chapters related to the composers has the similar structure. They start with presenting the composers' life and work in order to enter their installation projects in a wider context. Then the multidimensional analysis of the chosen sound installations is provided, including a presentation of the composer's artistic assumptions, with the particular focus put on the space formation, the analysis of the sound layer, the interactor's role in the installation.The last part of the thesis seeks to compare the above sound installations by examining how the main characteristics of the genre are realized within them. There is no doubt, that in all the analysed projects, the activities undertaken by the viewer-interactor play a major role. At the same time, even if the works of different composers have some common attributes, the particular features of authors' musical languages are distinguishable. It is also visible that the more sophisticated technology, the more immersive project is.
LIEN, WAN-YU, and 連婉妤. "The Creation and Research of “Simple Sonic” on Interactive Sound Installation Art." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7mt97w.
Full text國立臺灣藝術大學
多媒體動畫藝術學系新媒體藝術碩士班
102
“Simple Sonic” is an interactive sound installation with tablet interface. Using simple swiping motions, the user creates instant visual and musical feedback. The visual and musical reactions make it equally appealing to children and adults alike. The interface is basic to the point of needing no explanation-once the user starts touching they will quickly learn the contours and controls. The unique user experience and instant feedback makes fun and interesting.
"Cognize Normal-Like Pleez: Video Installation." Master's thesis, 2018. http://hdl.handle.net/2286/R.I.49197.
Full textDissertation/Thesis
Masters Thesis Music 2018
"Elements, Fancy Auras." Tulane University, 2013.
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