Dissertations / Theses on the topic 'Sound installations (art)'

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.

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.

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.

This exegesis is the intertextual investigation of the work, Seven Sacred Spaces. It is a multilayered text documenting the process that occurred as both the work and the artist evolved and the dialogue that transpired between the theory, the work and the artist.

L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteurs
The 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

Esta pesquisa tem o objetivo de realizar um mapeamento de questões presentes em um conjunto de obras que, a partir de meados da década de 1970, vêm se agrupando sob o termo - arte sonora. Para tanto, este trabalho parte de uma aproximação com o repertório, na medida em que realiza um levantamento e análise, por meio de bibliografia, discografia, catálogos de obras e outras fontes, abordando o trabalho de vários artistas que se destacam nesse âmbito, bem como apontando diversas questões extraídas desse primeiro passo. A partir daí, constatou-se que esse repertório é bastante amplo e divergente, e que a delimitação desse campo pode ser apenas aproximada. Porém, para a realização de um mapeamento do ideário da arte sonora, foi estabelecido um levantamento e análise de obras de artistas que, de uma forma ou outra, influenciaram esse processo. Três referências fundamentais são levantadas e abordadas: a Música Eletroacústica, a Installation Art e a Performance Art. Posteriormente a pesquisa concentrou-se no que, no decorrer da dissertação, chamamos de arte sonora e a partir daí, extraiu-se cinco aspectos considerados fundamentais para a análise e compreensão desse repertório. São eles: Sonoridade, Tecnologia, Interação, Espaço e Tempo.
The 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

The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.

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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.

Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY

L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteurs
The 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

Orientadores: Denise Hortência Lopes Garcia, Jônatas Manzolli
Tese (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

Thesis (Ph.D.)--University of Western Sydney, 2007.
A 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.

On appelle installation sonore une forme d'art multimédia dans laquelle l'accent est mis en particulier sur l’aspect sonore, sans pour autant ignorer toutes les autres composantes qui constituent l’installation. Bien qu’elle soit une forme classée parmi les arts plastiques, l’installation sonore se rapporte plutôt à l’art sonore. En effet, l’art sonore se caractérise par la prééminence de l’usage du son comme moyen d’expression et comme préoccupation artistique (le grand nombre de manifestations, de blogs et de festivals d’art sonore en témoignent). Parmi les pratiques expérimentales ayant trait à l’art sonore, une nette préférence va à l’installation sonore et il semblerait qu’elle devienne une forme d’art en soi. On peut s’interroger sur la possibilité d’envisager ceci de cette manière. Dans cette thèse, il faut comprendre l’installation sonore comme une pratique artistique hétérogène, interdisciplinaire, expérimentale et hybride, pratique qu’on retrouve dans l’installation artistique en général. Cependant, on peut constater que des préoccupations reviennent souvent : la visualisation du son, la perception de l’espace à travers le sonore, l’écoute et sa relation avec la position et le déplacement du corps de l’auditeur. Afin de contribuer à une plus grande compréhension d’une culture sonore contemporaine qui est largement partagée, le propos de cette thèse est d’étudier les divers domaines auxquels l’installation sonore appartient et ceci à partir de plusieurs points de vue : historique, esthétique, culturel et médiatique
Sound 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

Sur la base d’une pratique artistique explorant le phénomène vibratoire de la matière, cette thèse propose une réflexion sur les interactions entre matières sonores et matières visuelles au sein d’une même production plastique. Il s’agit d’analyser l’acte de création composé d’un agencement sensible de divers éléments auditifs et visuels réagissant de manière réciproque et provoquant une mutation de leur perception sensorielle, émotionnelle et sémantique. Un tour d’horizon de certains grands acteurs de l’histoire des pratiques sonores au XX° et XXI° siècle permettra d’aborder la question de l’interaction entre l’ouïe et la vue dans une production artistique. Seront abordées les notions de plasticité sonore, de mouvement vibratoire par l’altération, ainsi que du métissage plastique issu du métissage culturel. Dans un second temps, mon étude portera sur le processus de création d’une installation sonore par mode vibratoire, à travers l’écoute, le processus d’écriture sonore et les caractéristiques des espaces publics en tant que lieu d’accueil d’une œuvre. En dernier lieu, l’étude de la spécificité de la vibration sonore à générer des émotions, mettant en relief les mécanismes cérébraux sollicités par la perception bi-sensorielle aussi bien au niveau du corps de l’artiste créant, que ceux du public expérimentant l’œuvre
On 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

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.

I have gained control over a whole space through the use of video projections, soundscaping and various other materials including some interactive media, enabling me to give the audience a fuller sensual experience. Multi‐media has made it possible for artists such as myself to create artworks that require more than a visual conversation with the viewer. The manipulation of memory by time became a physical manifestation in the environments that I create with the use of multi‐media installations.

This paper explores the `creative' process of postmemory in relation to family photographs, story telling, the absence of memory, and the subsequent construction of new and elastic family histories in my MFA thesis artwork. I define postmemory and how it relates to the limited number of existing photographs that document my family's experience as displaced persons and immigrants. I also discuss how literalist art has influenced the works in my thesis exhibition and outline the reasons for the absence of actual photographs in my work. Then, drawing from Freud's ideas of the condensation of dreams and the formation of screen memories, I discuss the relationship between historical family photographs, the memories elicited by them, and the act of forgetting to reveal the elasticity of truth in postmemory and how my work represents the beginnings of a personal understanding of a fragmented family history riddled with holes and unknowns. I also describe and discuss the two installation works found in my thesis exhibition, which are titled Descendant and Lineage. Finally, I outline the influence of other artists and describe how these ideas are tied together in my artwork.

Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.

O presente trabalho versa sobre o aproveitamento compositivo dos entornos sonoros. Para esta pesquisa em composição musical, foram utilizados, como campo de estudo, entornos sonoros localizados dentro de perímetros urbanos e, como materiais na aproximação ambiente/composição explorada, diversas potencialidades musicais dos sons que constituem os entornos sonoros e as organizações deles emergentes. Também foram contempladas como motivadoras e força de coesão nos processos compositivos realizados diversas características da escuta no meio ambiente e do fluxo do entorno sonoro com suas variações. As composições foram realizadas para meios acústicos e eletroacústicos, considerando-se o espaço de diversas maneiras.
This 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.

This thesis focuses on the evolution of my work created during my two years of study at Virginia Commonwealth University. Although I touch upon my influences what I am writing is a reflection after the fact that does not necessarily encompass my original intent or inspirations for these works. I find my inspiration from personal discoveries within my daily life. Light flickering through the rails of a fence as I walk by makes me more aware of my body's movement in space. Watching the steady condensation of water droplets forming on a fountain creates a moment of pause within the world. Through these discoveries preconceptions about the world are forgotten and instead I focus on my experience. The potential for translating these moments into installations for an audience fuels my work. Though everyone experiences the world differently the pursuit of a common ground creates situations for further discoveries. The process of writing this paper has helped me to find a common thread within my work. Thinking back through the experiential discoveries of each piece has furthered my understanding, just as it originally propelled my artistic productio

This research project was a case study for managing and innovating an interdisciplinary practice: specifically across music, performance and contemporary art. Key works included painting/sound/video installation, experimental performance, electronic pop music, music video and electronic pop music performance. An idiosyncratic and transformative use of colour emerged as an underlying theme and strategy for cohesion. The project offers strategies for the challenges of interdisciplinary practice specifically addressing the limitations related to institutionalised value systems, aesthetic traditions and disciplinary languages.

In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html

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Sound 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

This thesis is an overview of the source material, methodologies, artistic influences, and conceptual decisions that inform my artwork and characterize my art practice. Utilizing participation (audience, community, viewer), I engineer experiences and encounters for the general public. Whether through directed physical interaction or implicit reaction, I create open-ended situations or environments that I may influence, but not fully control. The democratic cede of authorial control, as well as the heightened risk and unpredictably in my work, instigates a more positive, non-hierarchical social model in which every viewer is an “author,” who produces content and communication signals, and has a voice and a presence in society.

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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.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

Depuis l'avènement des technologies portables et du réseau Internet, de nombreux artistes conçoivent leurs œuvres au delà d'un espace et d'un temps donnés et inventent des formes permanentes et immatérielles disséminées sur les réseaux. Dans le cadre de cette recherche, il s'agit de produire à la fois une série de travaux sonores utilisant le réseau, des modes de participation collaboratifs et également de proposer une pensée sur les concepts révélés par ces nouvelles pratiques et ces formes d'écritures artistiques comme celle du noise, de la poésie sonore et des musiques expérimentales. La recherche est concentrée sur les éléments nécessaires pour constituer un laboratoire connecté de production sonore partagée, dans lequel toutes les questions (et d'autres à venir et à définir ensemble) sont posées à travers notre pratique artistique, des formes d'installations “dé-géolocalisées” ou “non géolocalisées” et enfin des performances musicales en simultané sur Internet. Il est intéressant de pouvoir à la fois envisager une production avec une communauté d'artistes et de penseurs ayant une pratique et des connaissances dans le domaine mais aussi de savoir comment ces artistes, théoriciens formulent leurs pensées et créent de nouveaux concepts. Ainsi, le travail de recherche peut croiser un projet de création, une pratique, un savoir- faire et en dégager une méthodologie théorique qui donne accès à des clefs, à la compréhension de ces nouvelles formes d'écritures
Since 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

My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amplification of the final sound of strings is done purely acoustically, with help of the wall on wich the piece is installed. This piece is in its nature concerned with spirituality in music, not necessarily in sense of evoking a spiritual experience, but rather demonstrating metaphors and parallels, that exists between physical aspects of tonal music and different religious ideas. The symmetrical shape of installation refer to religious and occult visuality, built f.e. in cabal on Fibonacci numbers, that is present not only in nature ( for example, the veins of the leaves grow by these numbers), but also in tonal music system (ancient philosophers were working with this concept, see Plato's Music of the Spheres). Strings in this piece produce drone sound, that is naturally evoking spirituality (most visible in buddhist monk meditation). This sound in the piece demonstrates immutability and constancy, the fact that all the chromatic tones are playing demonstrates wholeness (this fact may produce interesting resonances emerging between chromatic steps), so to speak, the unchangeable laws of physics, or to put it in religious lingo, the god law. The symbol of loop also refers to religion, like the eternal return of the same, the periodicity of history. Strings can be viewed as astrophysical symbol. Everything stated is nothing but my recourse, that should not ultimately determine the perception of the piece by viewer. The goal of the work is to offer experience without need to be put into context

Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ?  Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?

Thesis (M.M.)--University of North Texas, 2002.
A 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).

This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an understanding of the relationship between humans and nature. The project explores water and sound in two parts, first as a method for listening to the sea, second as a spatial composition created for a sensory experience of the sea’s endless motion. It is my hope that my installation can stir emotions and create an understanding for the environmental challenges facing the Baltic Sea and inspire action towards prosperous natural environments where we live with and not apart from nature.

Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

碩士
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.

Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY
Doctor of Philosophy (PhD)

Rozprawa poświęcona jest sztuce instalacji dźwiękowych. Tytułowe „dzieło w ruchu” stanowi z jednej strony nawiązanie do terminu, jakim Umberto Eco określił szczególny typ dzieła otwartego, a z drugiej, jest to zespolenie dwóch podstawowych kategorii – dzieła i ruchu. Dzieło, za Tadeuszem Kotarbińskim, rozumiane jest tu jako skutek działania, a nie materialny artefakt. Ruch natomiast jest naturalnym elementem tkwiącym w dźwiękach oraz w tworzonych przez nie strukturach, a w sztuce instalacji dźwiękowych dodatkowo realizuje się w aktywizacji ciała interaktora. Rozprawa składa się z wprowadzenia, części teoretycznej, części analitycznej oraz zakończenia. We wprowadzeniu wyjaśniony zostaje zakres pojęcia sztuki instalacji dźwiękowych, a także określone zostają jej podstawowe cechy: dźwiękowość, przestrzenność, procesualność–tymczasowość, partycypacyjność–interaktywność oraz multimedialność. Część teoretyczna dzieli się na dwa rozdziały. W pierwszym z omówienia XX–wiecznych ruchów awangardowych oraz tworzonych przez nie kierunków artystycznych, a zwłaszcza muzycznych, wyrasta refleksja na temat źródeł podstawowych cech sztuki instalacji, jakie można znaleźć w praktyce kompozytorskiej XX wieku. Wśród nich szczególne miejsce zajmuje emancypacja dźwięku (brzmienia), włączenie przestrzeni jako równoprawnego elementu utworu, rozbijanie struktury czasowej utworów oraz angażowanie uczestników w aktywną kreację wydarzeń artystycznych. Rozdział drugi obejmuje natomiast zagadnienia związane z sytuacją odbiorczą sztuki dźwiękowej. Rozważane są w nim sposoby percepcji multimedialnych projektów, z podkreśleniem roli poszczególnych zmysłów oraz integracji percepcji w doświadczeniu wydarzeń artystycznych. Podjęty zostaje także temat współpracy, rozumianej jako wspólnotowe kształtowanie i odbiór działań artystycznych. Tradycja kooperacji w tym zakresie zostaje powiązana z zagadnieniem interaktywności. Pojęcie to jest rozumiane możliwie szeroko na przestrzeni relacji zachodzących między artystą, wykonawcą, odbiorcą i dziełem, tak w fazie przygotowania projektu, jak i jego realizacji.Część analityczna pracy składa się z metodologicznego wstępu oraz trzech rozdziałów poświęconych twórczości instalacyjnej wybranych polskich kompozytorów: Zygmunta Krauzego, Krzysztofa Knittla i Marka Chołoniewskiego. Każdy z twórców zrealizował co najmniej kilka instalacji dźwiękowych, a ich działalność w tej dziedzinie jest różnorodna tak pod względem wykorzystanych środków technicznych, jak i sposobu przygotowania materiału dźwiękowego oraz ukształtowania przestrzeni. Wybrani kompozytorzy wykorzystują zróżnicowane strategie zarówno w sferze kreacji materialnej warstwy projektów, jak i kształtowania sytuacji odbiorczej, a prezentacja ich twórczości wyznacza dość szeroki zakres omawianej dziedziny. Każdy z rozdziałów poświęconych kompozytorom ma podobną strukturę. Najpierw przedstawiona zostaje sylwetka twórcy tak, by realizowane przez niego projekty multimedialne, a przede wszystkim instalacyjne, mogły zostać wpisane w szerszy kontekst jego dorobku. Następnie zostaje przeprowadzona analiza wybranych instalacji. Przedstawione zostają założenia twórcze autorów projektów, z uwzględnieniem sposobu ukształtowania przestrzeni, analizie podlega także warstwa dźwiękowa oraz sposób zaangażowania interaktora w zdarzenie.W zakończeniu podjęta zostaje próba porównania działalności instalacyjnej wybranych autorów z punktu widzenia sposobu ukształtowania poszczególnych cech instalacji dźwiękowych. Nie ulega wątpliwości, że udział interaktora w każdym tego typu projekcie pełni pierwszoplanową rolę. Analiza pozwala także wykazać, że mimo obecności w realizacjach różnych twórców elementów pokrewnych, to w instalacjach każdego z nich można wyróżnić cechy charakterystyczne dla jego specyficznego języka kompozytorskiego. Można ponadto stwierdzić, że im wyższy stopień zaawansowania technologicznego wykorzystanych narzędzi, tym bardziej immersyjne może być doświadczenie instalacji.
The 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.

碩士
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.

abstract: I believe the human mind is not an accurate reproducer of objects and events, but a tool that constructs their qualities. Philosophers Bowman Clarke, James John, and Amy Kind have argued for and against similar points, while Daniel Hoffman and Jay Dowling have debated cases from a psychological perspective. My understanding of their discourse surfaces in Cognize Normal-Like Pleez, a video installation designed to capture the enigmatic connection between perceivers and the things they perceive. The composition encapsulates this theme through a series of five videos that disseminate confusing imagery paired with mangled sounds. The miniatures operate in sequence on computer monitors set inside a haphazardously ornamented tower. Though the original sources for each video communicate clear, familiar subjects, the final product deliberately obscures them. Sometimes sounds and images flicker for only brief moments, perhaps too fast for the human mind to fully process. Though some information comes through, important data supplied by the surrounding context is absent. I invite the audience to rationalize this complexing conglomerate and reflect on how their established biases inform their opinion of the work. Each person likely draws from his or her experiences, cultural conditioning, knowledge, and other personal factors in order to create an individual conceptualization of the installation. Their subjective conclusions reflect my belief concerning a neurological basis for the origin of qualities. One’s connection to Cognize’s images and sounds, to me, is not derived solely from characteristics inherent to it, but also endowed by one’s mind, which not only constructs the attributes one normally associates with the images and sounds (as opposed to the physics and biology that lead to their construction), but also seamlessly incorporates the aforementioned biases. I realize my ideas by focusing the topics of the videos and their setting around the transmission of information and its obfuscation. Just as one cannot see or hear past the perceptual barriers in Cognize, I believe one cannot escape his or her mind to “sense” qualities in an objective, disembodied manner, because the mind is necessary for perception.
Dissertation/Thesis
Masters Thesis Music 2018