Journal articles on the topic 'Sound installations (art)'
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1
Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (June 24, 2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.
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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations.
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Fraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley, and Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 4 (February 1, 2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.
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Urban sound management often amounts to reducing sound levels with the underlying assumption of sound/noise as a nuisance. However, a reduction in sound level does not necessarily lead to a more pleasant auditory experience, especially in urban public spaces where vibrancy can be sought after. A proactive design approach that accounts for the human experience of sound environment is needed to improve the quality of urban spaces. Recent studies in soundscape research suggest that added sound and particularly sound art installations can have a positive influence on public space evaluations. Yet, the role of added sounds in urban context remains understudied and there is no existing method to date to inform sound art composition in public space through soundscape simulation. We present here a research-creation collaboration around the design of a permanent sound installation in an urban public space in Paris: Nadine Schütz's Niches Acoustiques. We report on a series of listening tests involving High-Order Ambisonic soundscape simulations of different prototypes to inform the sound artist's composition in order to optimize the quality of public space experience in the presence of the sound installation.
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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.
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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosenfeld’s visual and sonic objects in a recent exhibition, this article explores the manner in which sound-based installation art affords an opportunity to grasp music’s dispersed object-hood as it circulates through and across materials, feelings, and spaces. The author argues that Rosenfeld’s installation practice reveals both music and sonic experience more broadly to be a multimedia, collaborative activity, and affords an opportunity to, in the words of Will Straw, trace the inescapable manner in which sound’s “technologies and assemblages” contribute to its shared social “meaning, affect, and memory.”
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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.
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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.
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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.
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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.
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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.
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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued that by encouraging public listening, the discussed sound installations successfully establish a sensory connection between people and their environments. By extension, it is argued that this emergent sense of place is commensurate with the installations’ capacity to augment a pre-existing ‘spirit of place’. These findings culminate in a sonic placemaking tool for situating sound art installations in urban spaces. It is suggested that urban planners and designers can apply the presented sonic placemaking tool to augment a site’s spirit of place, thereby affecting new experiences in everyday urban life.
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Dziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 114–31. http://dx.doi.org/10.2478/prm/2022-0003.
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ABSTRACT Through Play to Sound Sources—A Contribution to Research ofLidia Zielińska’s Sound Installations Sound installations have been present in Polish music since the 1960s when the first “spatial-musical compositions” were presented by Zygmunt Krauze. His innovative activities hadn’t found followers in the Polish musical community for quite a while, but in the 1980s composers started to be more and more interested in multimedia forms engaging recipients into an active participation. Among these artists was Lidia Zielińska—a composer willingly exploring the sonoristic possibilities of both traditional instruments and electroacoustic ones. A big importance into the formation of her individual composition language was getting familiar with Raymond Murray Schafer’s ideas, meetings with this Canadian composer and promoting his thought into the polish community. An important current of her creative activities were also the actions focused on children. All these mentioned aspects can be seen in her installations that—according to the assumptions of Łukasz Guzek, a researcher of 20th and 21st-century art—inextricably combine the questions of space and presence. In terms of sound, these projects and not-installation Zielińska’s creations merge into a coherent whole: a space to explore problems related to sound’s essence and sources, as well as acoustic ecology. This article describes in more detail the following sound installations of Lidia Zielińska, including their composition assumptions and way of realizing the elements characterising the installation forms: Muzyka potencjalna [nr 1]. Spiskowa teoria dźwięku (1988), Projekt dla końca korytarza (1994), Alles gab’s schon mal/Wszystko już było (2006), Lutosławski DIY (2013), Plasterki muzyki (2013), Looks Chinese, Sounds Polish (2013) and Polish Sonorities (2014).
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Dziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 114–31. http://dx.doi.org/10.2478/prm-2022-0003.
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ABSTRACT Through Play to Sound Sources—A Contribution to Research ofLidia Zielińska’s Sound Installations Sound installations have been present in Polish music since the 1960s when the first “spatial-musical compositions” were presented by Zygmunt Krauze. His innovative activities hadn’t found followers in the Polish musical community for quite a while, but in the 1980s composers started to be more and more interested in multimedia forms engaging recipients into an active participation. Among these artists was Lidia Zielińska—a composer willingly exploring the sonoristic possibilities of both traditional instruments and electroacoustic ones. A big importance into the formation of her individual composition language was getting familiar with Raymond Murray Schafer’s ideas, meetings with this Canadian composer and promoting his thought into the polish community. An important current of her creative activities were also the actions focused on children. All these mentioned aspects can be seen in her installations that—according to the assumptions of Łukasz Guzek, a researcher of 20th and 21st-century art—inextricably combine the questions of space and presence. In terms of sound, these projects and not-installation Zielińska’s creations merge into a coherent whole: a space to explore problems related to sound’s essence and sources, as well as acoustic ecology. This article describes in more detail the following sound installations of Lidia Zielińska, including their composition assumptions and way of realizing the elements characterising the installation forms: Muzyka potencjalna [nr 1]. Spiskowa teoria dźwięku (1988), Projekt dla końca korytarza (1994), Alles gab’s schon mal/Wszystko już było (2006), Lutosławski DIY (2013), Plasterki muzyki (2013), Looks Chinese, Sounds Polish (2013) and Polish Sonorities (2014).
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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.
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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.
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Kontogeorgakopoulos, Alexandros. "Music, Art Installations and Haptic Technology." Arts 12, no. 4 (July 7, 2023): 142. http://dx.doi.org/10.3390/arts12040142.
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This paper presents some directions on the design, development and creative use of haptic systems for musical composition, performance and digital art creation. This research has been conducted both from an artistic and a technical point of view and its ambition, over the last decade, apart from the artistic outcome, was to introduce the field of haptics to artistic communities based on an open, do it yourself—DIY ethos. The five directions presented here are not in any sense exhaustive and are based principally on a series of collaborative works and more personal open-ended explorations with the medium of haptics and, more specifically, force-feedback interaction. They will be highlighted along with information about the interaction models and their application to artistic works created by the author and other colleagues. Those directions are (i) Haptic Algorithms and Systems; (ii) Performers Intercoupling; (iii) Haptic Interfaces as Part of the Artistic Practice; (iv) Electromechanical Sound Generation; and (v) Media Art and Art Installations. The interdisciplinary field of musical haptics still has a relatively minor position in the sound and music computing research agendas and, more importantly, its artistic dimension is very rarely discussed. The findings of this research aim to indicate and clarify potential research pathways and offer some results on the use of haptics and force-feedback systems in an artistic context.
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Batchelor, Peter. "Grasping the Intimate Immensity: Acousmatic compositional techniques in sound art as ‘something to hold on to’." Organised Sound 24, no. 3 (November 29, 2019): 307–18. http://dx.doi.org/10.1017/s1355771819000372.
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This article explores the accessibility of acousmatic compositional approaches to sound and installation art. Principally of concern is the consideration of intimacy to create a means of ‘connecting’ with an audience. Installations might be said to explore ideas of intimacy in two ways which increase accessibility for the installation visitor: through cultivating installation–visitor relationships, and through encouraging visitor–visitor relationships. A variety of ways in which various acousmatic compositional techniques relating to intimacy might be brought to bear on and operate as a way of drawing a listener into a work are explored, in particular as they relate to the consideration of space and spatial relationships. These include recording techniques, types of sound materials chosen, and the creation of particular spatial environments and listening conditions. Along with a number of instances of sound art provided by way of examples, my ongoing GRIDs series of sound sculptures will provide a case study of works related to an acousmatic aesthetic where these concerns find an outlet.
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Pezanoski-Browne, Alison. "The Tragic Art of Eco-Sound." Leonardo Music Journal 25 (December 2015): 9–13. http://dx.doi.org/10.1162/lmj_a_00925.
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In this article, the author analyzes the work of two artists, Miki Yui and Jana Winderen, who respond to unprecedented ecological change by using nature field recordings as the foundational element of their compositions and installations. Their works replicate environmental dissolution and dislodge listeners from the habits and assumptions of everyday life. The author draws upon the work of sociologist Henri Lefebvre, defining rhythmanalysis, the everyday, and, in Lefebvre’s words, the “dialectical dynamic between tragedy and daily life.”
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Galloway, Kate. "Listening to Indigenous Knowledge of the Land in Two Contemporary Sound Art Installations." Feminist Media Histories 6, no. 2 (2020): 176–206. http://dx.doi.org/10.1525/fmh.2020.6.2.176.
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This essay addresses the silences and soundings of Rebecca Belmore's (Anishinaabe) and Julie Nagam's (Anishinaabe/Métis/German/Syrian) sound art, which reflects their environmentalism and profound commitment to Indigenous ways of knowing, making, and listening. Working at the intersection of sound art and politics, the two perform sonic interventions into settler colonial spaces—the National Parks system and the gallery, respectively. Belmore's Wave Sound (2017) and Nagam's Our future is in the land: If we listen to it (2017) illustrate how their sound art gravitates toward the ecological and considers what healthy and unhealthy relationships between humans and the nonhuman world—plants, animals, resources—sound like. Belmore and Nagam introduce marginalized perspectives and voices to address the problematic authority of whiteness that conspicuously dominates the discourse on music, sound, and environment—a relatively homogenous and exclusionary artistic, technological, and scientific discussion.
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Seay, Jesse. "Engaging the Audience: A Primer for Sound Art in Public Spaces." Leonardo Music Journal 24 (December 2014): 77–78. http://dx.doi.org/10.1162/lmj_a_00213.
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Groth, Sanne Krogh, and Kristine Samson. "Urban sound ecologies." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (December 1, 2013): 94–112. http://dx.doi.org/10.7146/se.v3i3.18443.
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Within recent years, there has been a renewed focus on sound in urban environments. From sound installations in public space to sound festivals in alternative settings, we find a common interest in sound art relating to the urban environment. Artworks or interventions presented in such contexts share the characteristics of site specificity. However, this article will consider the artwork in a broader context by re-examining how sound installations relate to the urban environment. For that purpose, this article brings together ecology terms from acoustic ecology of the sound theories of the 1970s while developing them into recent definitions of ecology in urban studies. Finally, we unfold our framing of urban sound ecologies with three case analyses: a sound intervention in Berlin, a symphony for wind instruments in Copenhagen and a video walk in a former railway station in Kassel. The article concludes that the ways in which recent sound installations work with urban ecologies vary. While two of the examples blend into the urban environment, the other transfers the concert format and its mode of listening to urban space. Last, and in accordance with recent soundscape research, we point to how artists working with new information and media technologies create inventive ways of inserting sound and image into urban environments.
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Duarte-García, Mario Alberto, and Emma Wilde. "Sound installation art and the intervention of urban public space in Latin America." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 107–24. http://dx.doi.org/10.7146/se.v10i1.124201.
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This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America. Latin America is a continent full of contrasts, and in various places throughout the countries, space refl ects the history of each nation through its architecture. We fi nd pre-Hispanic pyramids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifestations have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space. This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts.
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Dodonova, Svetlana Gennadyevna. "INNOVATIVE APPROACHES TO INTRODUCING MUSICAL ART TO YOUNG PEOPLE IN A NEW AESTHETIC SITUATION." Вестник Восточно-Сибирского государственного института культуры 140 (April 9, 2024): 32–40. http://dx.doi.org/10.31443/2541-8874-2024-1-29-32-40.
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The article considers a new aesthetic situation that has arisen as a result of the emergence of new musical and technical professions − sound engineer, sound and video technician, new musical sign reality that can record borderline sound phenomena, as well as art commercialization, art merger with the field of financial markets and show business. The new aesthetic situation forms a new level of thinking, respectively. To develop musical thinking and interest of young people in musical art, appropriate innovative approaches are necessary taking into account modern technologies. They include: introducing musical art to young people through innovative technologies as additional to traditional music training; supporting interest in the musical avant-garde − borderline sound phenomena, sound sculptures, installations, etc., the relevance of which continues to dominate in art; developing new forms of concert venues for transmitting art that meets the requirements of the new aesthetic situation.
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Ouzounian, Gascia. "Recomposing the City: A Survey of Recent Sound Art in Belfast." Leonardo Music Journal 23 (December 2013): 47–54. http://dx.doi.org/10.1162/lmj_a_00154.
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This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic, religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These include site-specific sound installations in urban and public spaces, soundwalks, sculptures, locative and online works, and experimental sonic performances that draw upon traditional Irish song and music.
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Naimark, Michael. "Two Unusual Projection Spaces." Presence: Teleoperators and Virtual Environments 14, no. 5 (October 2005): 597–605. http://dx.doi.org/10.1162/pres.2005.14.5.597.
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Two immersive projection environments, both unconventional, both exploring different methods of 3D and panoramic imaging, and both produced as art installations, are described. Displacements (1980–1984) recreated an interior living space using a panoramic motion picture method and relief projection. Be Now Here (1995–1997) recreated outdoor public plazas using a panoramic motion picture method, stereopsis, and four channel sound. Both installations were unusual in that no intentions existed for anything more general or useful than the installations themselves as individual artworks.
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Boutard, Guillaume, Catherine Guastavino, Nicolas Bernier, Philippe-Aubert Gauthier, Valérian Fraisse, Nicola Giannini, and Julien Champagne. "Review of Contemporary Sound Installation Practices in Québec." Resonance 3, no. 2 (2022): 177–93. http://dx.doi.org/10.1525/res.2022.3.2.177.
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Continuing a trend of publications investigating sound art within a specific geographical context, this paper proposes an original view of the sound installation practice in Québec. This study is part of a research project aiming at building new theoretical and practical tools for the documentation of such artworks. In this paper we present the outcomes of the first phase and its connection with the bigger picture of the project, which is the questioning of the relevance of spatial audio recordings with six degrees of freedom (6DoF) for mediating the capture of knowledge relating to the sensory experience of a work. During the first phase, we developed a conceptual descriptive framework based on a mixed-methods approach, top-down and bottom-up, consisting in a systematic review of literature paralleled with a categorization of contemporary sound art production in Québec based on publicly available documentation. This process led to a formal and quantitative depiction of the Québec scene, which aims to guide both the selection of case studies for the next phases but also to be part of the conceptual tools for investigating the sensory experience of these works. This quantitative depiction of the scene will thus foster a qualitative investigation of the sensory experience of sound art installations and the knowledge that may be lost in standard written documentation practice with an original methodological framework.
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Castro, Daniel, and Sophie Gleeson. "Floors of Heaven: A case study of an underwater acoustic soundscape for recreational purposes." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A310. http://dx.doi.org/10.1121/10.0023630.
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This paper presents a case study of an underwater music piece titled “Floors of Heaven” by British artist Leon Vynehall. This installation was delivered in a swimming pool as part of the Mona Foma 2023 festival, representing an example of the use of soundscapes as a means of artistic expression. The study delves into contemporary trends in soundscapes, with a focus on their utilization as a recreational tool, as the writers observe the growing interest in creating immersive and experiential art installations that engage the viewer on a sensory and emotional level. Subsequently, the paper discusses how soundscapes can be delivered in underwater environments, which present unique challenges in terms of acoustics, sound propagation, and environmental risk factors such as hearing damage. The technical considerations involved in creating an underwater sound installation, including the use of hydrophones and underwater speakers, and the importance of selecting appropriate hardware to achieve acceptable noise levels underwater, are thoroughly described. The case study of “Floors of Heaven,” which uses a combination of field recordings and synthesized sounds to explore themes of ecological collapse and the impact of human activity on underwater environments, is then presented.
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Gardner, Evan. "MaerzMusik 2015: ‘Festival for Time Issues’." Tempo 69, no. 274 (September 7, 2015): 73–75. http://dx.doi.org/10.1017/s0040298215000455.
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The torch of artistic direction has passed from Matthias Osterwold to Berno Odo Polzer. Under the former, MaerzMusik was unique among the large European international festivals for its focus on interdisciplinary concerts, sound installations, crossover projects and use of digital media. Concerts often took place in alternative venues ranging from Berlin's most (in)famous nightclub, Berghain, to the Hamburger Bahnhof, a train station transformed into a museum of modern art. The home of the festival, Haus der Berliner Festspiele, was almost exclusively employed for sound installations and music theatre performances. One always had to be sure to buy tickets in advance for fear of facing a sold-out concert; the capacity of the alternative venues was often limited.
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ROGERS, HOLLY. "Acoustic Architecture: Music and Space in the Video Installations of Bill Viola." Twentieth-Century Music 2, no. 2 (September 2005): 197–219. http://dx.doi.org/10.1017/s1478572206000260.
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Video installation art is a collaboration of sound, image, and space, with a closer relationship to music and art than to cinema. Accordingly, those working in this genre are often both artist and musician, a double role that represents a radical departure from the artist/musician divide of many other audio-visual genres. Because it is single authored, video installation can invert many elements of the filmmaking process: while it is common procedure to add a soundtrack to film during post-production, for instance, many video artists use sound as their starting point, often basing whole works on a musical structure. While such an inversion invites reconsideration of musical audibility and film narrative, video work, when installed, also challenges the notions of screen space and realism. An audience is no longer offered the single-point perspective of film, but is instead enveloped within a three-dimensional space. And as image expands beyond the four sides of the cinema screen – a space occupied previously by music alone – important questions are raised: what happens to music when film breaks from the containment of the screen? when it destroys its own boundaries? Focusing on the work of Bill Viola, this paper explores the ways in which video installation art confronts methods of film exhibition and audience engagement, and investigates how such confrontation redefines the roles of music and image in film.
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Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.
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The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
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Leudar, Augustine. "Surrounded: A Series of Sound Installations That Combine Plant Electrophysiology and 3D Sonic Art." Leonardo 51, no. 5 (October 2018): 517–23. http://dx.doi.org/10.1162/leon_a_01338.
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This paper discusses a series of sound installations that combine plant electrophysiology with 3D sonic art. A brief introduction to plant electrophysiology is given. The sonification of electrophysiological signals in the mycorrhizal network is discussed, explaining how art and science are combined in this project in a way that differs from the simple sonification of data. Novel 3D audio spatialization techniques, the 3D audio mapping of natural environments and immersion are also discussed, along with technical details of how to read the electrical signals in plants known as action potentials. Other topics addressed include acoustic signaling in the forest, spectral composition and interaction with forest flora and fauna.
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Emmerson, Simon. "New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art." Organised Sound 6, no. 2 (August 2001): 103–5. http://dx.doi.org/10.1017/s1355771801002047.
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The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.
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Rudi, Jøran. "Organising Sound with Audio Clothes: An interview with Benoit Maubrey." Organised Sound 23, no. 3 (December 2018): 292–95. http://dx.doi.org/10.1017/s1355771818000201.
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Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and he eventually turned to performative practices with portable audio embedded in clothes and costumes. His artistic practice currently spans site-specific and non-site-specific sound installations, locational and non-locational performances, as well as performed, interactive and non-interactive sound installations, and a comprehensive description of his artistic trajectory is planned for release in 2019: Benoit Maubrey – Sound Sculptures. His most well-known ensemble is The Audio Ballerinas, wearing tutus with a combination of solar cells, light sensors, samplers, radios, amplifiers and loudspeakers. The ensemble has been performing since its debut in Lille in 1990. Maubrey has developed a huge portfolio of audio ensemble performances on several continents, and an interesting thread of autonomy and critical reflection is running through his oeuvre. The costumes and their technical affordances have changed with new technological developments, and in this interview Maubrey explains these developments, and how he has maintained and extended his artistic focus.
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Lakatos, Mihály. "Sights and Sounds of Big Data: Ryoji Ikeda’s Immersive Installations." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 109–29. http://dx.doi.org/10.2478/ausfm-2020-0006.
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AbstractThe Japanese multimedia artist Ryoji Ikeda’s work can be interpreted as a contact between mediums, but also as a contact between disciplines. Most of his video installations are based on concepts borrowed from the field of mathematics, physics or information technology. In this paper I will examine Ikeda’s audiovisual installations by presenting these multimedial installations as possible methods of visualizing digital data in the context of contemporary art. Considering their digital and abstract nature, these works can also be analysed as unique audiovisual environments built from different media based on the same data-sets, offering the possibility of immersion. By unfolding the medial relations within Ikeda’s work I will try to demonstrate how the combination of sight and sound creates the inter-sensual experience of getting in touch with digital data.
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Mayell, Marcus R., Nicolaus T. Dulworth, Brandon Cudequest, and Robin Glosemeyer Petrone. "One acoustician’s defect is another artist’s feature: Simulating real flutter for an art installation." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A210. http://dx.doi.org/10.1121/10.0016034.
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Flutter is generally considered an acoustical defect – the timbral distortions and rhythmic nature can be distracting, annoying, or downright disruptive. The paper recontextualizes flutter as a compositional tool for sound art, particularly when the flutter of existing rooms is used for site-specific installations. Due to the global COVID-19 pandemic, the artist was unable to travel, allowing us to visit the site and take several room impulse responses. The measured spaces were parallelpiped, sound reflective, and fluttery. To give the artist creative flexibility, we simulated the rooms for an extended range of source and receiver locations informed by the in-situ measurements. This paper will discuss our calibration and modeling techniques to simulate flutter and reverberation coloration in real rooms, which is non-trivial for image source methods or ray-based software.
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PURKAYASTHA, PRARTHANA. "Visuality, Sonicity and Corporeality in Installation Art: A Conversation with Jun Nguyen-Hatsushiba." Theatre Research International 46, no. 2 (July 2021): 200–208. http://dx.doi.org/10.1017/s0307883321000109.
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This conversation paper examines the visual, sonic and corporeal entanglements that inform the work of the Vietnamese-American-Japanese artist Jun Nguyen-Hatsushiba. It explores the corporeal and aural qualities that are central to an understanding and sensorial experience of the artist's installations and visual practice. In paying attention to breath, sound and motion in visual art production, Jun Nguyen-Hatsushiba's works reveal how corporeality and sonicity can dismantle the ocular-centrism of visual art. The discussions between Jun and Prarthana map the varied traumatic histories of racial colonialism, war and forced migration that haunt Vietnam's present, and bring to the surface the artist's aesthetic and political concerns around art, performance and cultural memory.
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Saladin, Matthieu. "Electroacoustic Feedback and the Emergence of Sound Installation: Remarks on a line of flight in the live electronic music by Alvin Lucier and Max Neuhaus." Organised Sound 22, no. 2 (July 12, 2017): 268–75. http://dx.doi.org/10.1017/s1355771817000176.
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Reflecting upon Max Neuhaus’s and Alvin Lucier’s first electronic works on electroacoustic feedback, I will consider how their research into live electronic music, meant to be performed on stage, announced a whole other form of creation, which was paradoxically emancipated from the concert hall and essential to the emergence of sound art: sound installations. If both musicians first appropriated the electronic medium for its possibilities in sound transformation, it appears that these experimentations, and more precisely those using feedback, quickly extended into areas other than research on tone and the live dimension of electronic performances. Indeed, electroacoustic feedback, as a phenomenon of retroaction, goes beyond the mere relationship to the instrument: by manifesting itself in the looping of the electroacoustic chain (microphone-amplification-speakers), it straightaway inscribes the electronic device in a spatial dimension that is linked to the propagation of sound. By analysing Neuhaus’s and Lucier’s first experiments with feedback, the specificities of their apparatuses and the experiences they aimed to create and foster, this article wishes to question the role these experiments played in the emergence of both musicians’ concern with space, which is at the core of any understanding of their later works. We can then re-read their contribution to the history of live electronic music in the light of both bifurcations and lines of flight inherent in their respective bodies of work, in order to look into the emergence of a certain art of sound installation, in which the liveness of live electronic music, far from being pushed aside, seems to lead into other forms of creation and specific aesthetic questions.
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DAVIS, RANDAL. "‘… and what they do as they're going …’: sounding space in the work of Alvin Lucier." Organised Sound 8, no. 2 (August 2003): 205–12. http://dx.doi.org/10.1017/s1355771803000116.
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This paper considers the early work of Alvin Lucier and its often problematic positioning between concert and installation work as a means of questioning how installation might be defined. Following an introductory survey of Lucier's work, a history of installation in the visual arts is traced through the debate, initiated by Michael Fried, on the ‘theatricality’ of minimalism. Fried's condemnation of the role of the viewer in what he termed ‘literalist’ art became, contrary to his intentions, a central element in thinking about installation work. Fried's position was recently engaged again by Hal Foster in positing a particular phenomenology of minimalist work, which is seen to be directly relevant to the example of Lucier. Having thus established the relevance of this phenomenology to the consideration of sound installations, whether they are themselves minimal works or not, discussion returns to the problematic example of Lucier, and the conclusion that the boundary between concert and installation works may always be permeable, that a precise morphology of installation will remain elusive.
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Fredrickson, Laurel Jean. "Gender and Deterritorialized Identity." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 74–87. http://dx.doi.org/10.1215/10757163-10904090.
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This article explores the immersive audio-visual and sculptural art installations in the 59th Venice Biennale (2022) of three transnational contemporary women artists with familial ties to former colonies and protectorates. The Afro-Caribbean artist Sonia Boyce, MBE, presented Feeling Her Way in the British National Pavilion, for which she won the Golden Lion, the biennale’s highest honor. Zineb Sedira, a Franco-Algerian artist who lives and works in Britain, exhibited Les rêves n’ont pas de titre (Dreams Have No Titles) in the French National pavilion. The Moroccan artist, Latifa Echakhch, who was raised in France and lives in Switzerland, represented Switzerland with Le Concert, a sculptural sound installation. Each of their multidisciplinary installations engages differently with the intersections of race, gender, and ethnicity to challenge cultural stereotypes and erasures—of women artists and histories of liberation struggles. This article introduces early works by each artist as a basis for understanding how their biennale projects are decolonial and feminist in order to argue that the deterritorialized may reterritorialize—create new spaces of enunciation—in and through culture. The Venice Biennale installations of Boyce, Sedira, and Echakhch bring light to intersections of present-day and historical politics and memory by engaging with identity—individual and collective—as constructed, negotiated, and always in flux. Their work is shaped by migration, displacement, refugee status, exile, and the frontier as site of obstruction and passage.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Fiebig, Andre, and Cleopatra Moshona. "Observed changes in the perceived ambience of public spaces elicited by added sound." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A365. http://dx.doi.org/10.1121/10.0019180.
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New soundscape approaches consider plus sound design to create a more positive atmosphere and to reduce the audibility of unwanted sound sources. By adding water installations, sound art or simply music for example, urban noise can be efficiently masked to a certain degree. Although this design approach appears reasonable, scarce amount of data is available regarding the potential and limitations of additive sound measures in public spaces. In this context, the enrichment of the acoustic environment by music is frequently discussed and mainly applied in indoor settings. However, such measures raise ethical concerns when it comes to subconscious effects, because they might lead to behavioral changes. In Berlin, a variety of music pieces and genres were played in public transportation waiting areas to investigate the effect of the music on the atmosphere and passengers. In order to examine the effects of the music on different assessment parameters (e.g., perceived safety, cleanliness, mood, loudness) varying data collection tools were applied insitu to investigate the implications of additive sound design based on music streams in detail. The paper presents survey results with a special focus on how the perception of the soundscapes is changed by the added sound.
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Chu, Jean Ho. "Affordances for Restored Behavior in Interactive Art - Focusing on Interactive Sound Installations (Mobius I) and (Mobius II)." CONTENTS PLUS 18, no. 3 (June 29, 2020): 19–32. http://dx.doi.org/10.14728/kcp.2020.18.03.019.
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Ilhan, Prof Dr Ayse Cakir. "EDITORIAL." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): I. http://dx.doi.org/10.18844/prosoc.v5i6.4577.
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It is the great honor for me to edit proceedings of “8th World Conference on Design and Arts (WCDA- 2019)”, 27 –29 June 2019, Tirana International Conference Centre, Tirana, Albania. This privileged scientific event has been contributing to the field of educational research for eight years.
As the guest editor of this issue, I am glad to see variety of articles focusing on Art Management, Art and Corporate Identiy, Art and Media, Art and Advertising Design, Art and Globalization, Civil Society and Art, Community Arts, Experimental Typography, Fashion Design, Game Design and Cinema, Game Design and Art, Gastoronomy and Art, Industrial Design, Interactive Arts, Interactive Sound Design, Interior Design, Jewelry Design, New Media for Learning and Teaching, Packaging Design, Performing Arts, Sonic Sculptures, Sound Installations, Teacher Training, The Science of Arts, Typeface Design, Urban Culture and Art, Visual Culture and Art, etc..
Furthermore, the conference is getting more international each year, which is an indicator that it is getting world widely known and recognized. Scholars from all over the world contribute to the conference. Special thanks are to all the reviewers, the members of the international editorial board, thepublisher, andthose involved in technicalprocesses.Wewouldlike tothank all whocontributed to every process to make this issue actualized. A total of 47 full papers or abstracts were submitted for this conference and each paper has been peer reviewed by the reviewers specialized in the related field. At the end of the review process, a total of 14 high quality research papers were selected and accepted for publication.
I hope that you will enjoy reading the papers. Best Regards
Guest Editors
Prof. Dr. Ayse Cakir Ilhan, Ankara University, Turkey
Editorial Assistant
Zeynep Genc, Phd. Istanbul Aydin University, Istanbul, Turkey
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Ilhan, Prof Dr Ayse Cakir. "EDITORIAL." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): I. http://dx.doi.org/10.18844/prosoc.v6i4.4577.
Full textAbstract:
It is the great honor for me to edit proceedings of “8th World Conference on Design and Arts (WCDA- 2019)â€, 27 –29 June 2019, Tirana International Conference Centre, Tirana, Albania. This privileged scientific event has been contributing to the field of educational research for eight years.
As the guest editor of this issue, I am glad to see variety of articles focusing on Art Management, Art and Corporate Identiy, Art and Media, Art and Advertising Design, Art and Globalization, Civil Society and Art, Community Arts, Experimental Typography, Fashion Design, Game Design and Cinema, Game Design and Art, Gastoronomy and Art, Industrial Design, Interactive Arts, Interactive Sound Design, Interior Design, Jewelry Design, New Media for Learning and Teaching, Packaging Design, Performing Arts, Sonic Sculptures, Sound Installations, Teacher Training, The Science of Arts, Typeface Design, Urban Culture and Art, Visual Culture and Art, etc..
Furthermore, the conference is getting more international each year, which is an indicator that it is getting world widely known and recognized. Scholars from all over the world contribute to the conference. Special thanks are to all the reviewers, the members of the international editorial board, thepublisher, andthose involved in technicalprocesses.Wewouldlike tothank all whocontributed to every process to make this issue actualized. A total of 47 full papers or abstracts were submitted for this conference and each paper has been peer reviewed by the reviewers specialized in the related field. At the end of the review process, a total of 14 high quality research papers were selected and accepted for publication.
I hope that you will enjoy reading the papers. Best Regards
Guest Editors
Prof. Dr. Ayse Cakir Ilhan, Ankara University, Turkey
Editorial Assistant
Zeynep Genc, Phd. Istanbul Aydin University, Istanbul, Turkey
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Tao, Ting, Ryota Sato, Yusuke Matsuda, Jumpei Takata, Fijun Kim, Yukio Daikubara, Koji Fujita, et al. "Elderly Body Movement Alteration at 2nd Experience of Digital Art Installation with Cognitive and Motivation Scores." J — Multidisciplinary Scientific Journal 3, no. 2 (April 14, 2020): 138–50. http://dx.doi.org/10.3390/j3020012.
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The prevalence of advanced medical treatment has led to global population aging, resulting in increased numbers of dementia patients. One of the most intractable symptoms of dementia is apathy, or lack of interest and enthusiasm, which can accompany memory and cognitive deterioration. Development of a novel method to ameliorate apathy is desirable. In this feasibility trial, we propose a series of digital art installations as a candidate dementia intervention approach. Seven, three-minute scenes of digital images and sounds were presented to visitors either passively or in response to their reactions (motion and sound). We evaluated the potential of this application as an intervention against apathy in an elderly living home. We collected the dementia global standard Mini-Mental State Examination (MMSE) and questionnaire scores of sensory pleasure and motivation along with behavioral motion data in twenty participants. We further compared responses between the first and second experiences in the thirteen participants that were present for both days. Overall, we found a significant increase in participants’ motivation. In these subjects, head and right hand motion increased over different scenes and MMSE degrees, but was most significant during passive scenes. Despite a small number of subjects and limited evaluations, this new digital art technology holds promise as an apathy intervention in the elderly and can be improved with use of wearable motion sensors.
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Xiaoxu Zhao, Hongying Song,. "Immersive Multimedia Art Design Based on Deep Learning Intelligent Vr Technology." Journal of Electrical Systems 20, no. 3s (April 4, 2024): 1624–35. http://dx.doi.org/10.52783/jes.1703.
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Virtual Reality (VR) based art design offers a revolutionary platform for artists to explore new dimensions of creativity and expression. By immersing users in virtual environments, VR art transcends traditional limitations, enabling the creation of immersive and interactive experiences that defy conventional boundaries. Artists harness VR technology to sculpt three-dimensional forms, paint in volumetric space, and manipulate light and sound in ways previously unimaginable. Moreover, VR facilitates collaboration and audience engagement, allowing viewers to interact with and even become part of the artwork. From virtual exhibitions to immersive installations, VR art opens up endless possibilities for artistic innovation and audience participation. This paper introduces an innovative approach to immersive multimedia art design, leveraging deep learning intelligent Virtual Reality (VR) technology alongside Centralized Data Transmission Classification (CDTC) with the integration of IoT multimedia sensor data. By combining these advanced technologies, artists can create captivating and dynamic multimedia experiences that engage multiple senses and transcend traditional artistic boundaries. Deep learning algorithms analyze and interpret vast amounts of sensory data collected from IoT multimedia sensors, enabling the generation of immersive VR environments that respond intelligently to user interactions. CDTC facilitates efficient data transmission and classification, optimizing the integration of real-time sensor data into the VR experience. Through a series of experiments and simulations, the efficacy of the proposed framework is demonstrated, showcasing its ability to create immersive art installations that dynamically adapt to user input and environmental stimuli. in a simulated VR environment, deep learning algorithms processed IoT sensor data in real-time, resulting in an average classification accuracy of 92% for environmental stimuli recognition. Additionally, CDTC facilitated efficient data transmission, reducing latency by 30% compared to traditional methods.
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Lensing, Jorge. "The future of audio-visual designers with a focus on sound." International Journal of Film and Media Arts 8, no. 3 (December 29, 2023): 38–58. http://dx.doi.org/10.24140/ijfma.v8.n3.03.
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Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms.
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Nie, Sen, and Yan Liu. "Analysis of Application of Digital Media Arts." Advanced Materials Research 989-994 (July 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.
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In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characteristics of digital media arts: Cross uses online media which contains computer-animated production, the television advertising shoot, digital music player, there are activities such as online games, virtual reality, network, performance art, video, interactive installations and DV (digital video). This paper discusses the present status of digital media art, features, applications in education, vocational orientation and analysis of the development trend.
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Anderson, Elizabeth. "An Interview with Annette Vande Gorne, Part 2." Computer Music Journal 36, no. 2 (June 2012): 10–22. http://dx.doi.org/10.1162/comj_a_00116.
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Annette Vande Gorne, renowned composer of electroacoustic music, discusses her multi-faceted career in a two-part interview. In this second part of the interview, Vande Gorne reveals her compositional strategy for her current project (her acousmatic opera Yawar Fiesta) as well as for other electroacoustic genres–notably, acousmatic works, mixed works, and sound installations. Vande Gorne also discusses the fundamental importance of the art of interpreting sound in space, and explains the instrument of interpretation (the acousmonium) and her use of it. Additionally, Vande Gorne reflects on her teaching, most recently at the Conservatoire Royal de Mons, Belgium, where she conceived a section of electroacoustic studies. During her tenure as professor of acousmatic composition, she has conveyed her personal artistic aesthetic alongside the French electroacoustic aesthetic to several generations of composers in Europe and beyond. Other topics in this part of the interview include Musiques & Recherches (Vande Gorne's center for electroacoustic music) and her well-known acousmatic festival L’Espace du Son.
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Wang, Weida. "Ruptured Rhetoric." Resonance: The Journal of Sound and Culture 4, no. 3 (2023): 225–45. http://dx.doi.org/10.1525/res.2023.4.3.225.
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Under the pressure of the political environment, Chinese immigrant communities of a new sort have had to form in the UK. From 2020 to 2022, strict COVID-19 policies enforced by the Chinese government left a large number of Chinese nationals stranded overseas. Concurrently, the political conflicts in Hong Kong since 2019 and shifting geopolitical dynamics in China prompted a significant influx of Hong Kong citizens emigrating to the UK. Within this context, soundwork has emerged as a powerful implement for shaping ideology, aesthetics, identity, and subjectivity in these immigrant and diaspora communities. Amid these challenges, ethnic Chinese sound artists based in the UK actively contribute to the construction of Sinophone communities, incorporating the local culture while challenging the homogenized concept of “Chineseness” in terms of a new, critical epistemology. These Sinophone communities take place in venues such as performance spaces, art galleries, and public areas. Artistic activism plays a pivotal role, with sound art serving as a potent medium of expression. Artists such as Chris Zhongtian Yuan, Bo Choy, Yarli Allison, and On Yee Lo employ various forms of artistic expression, including video arts, installations, films, and performances, to capture the political circumstances and psychological states of these communities. By drawing on theoretical frameworks from Sinophone theory and sound studies, this paper analyzes the soundworks of four artists of the Chinese ethnic or Hong Kong diaspora based in London, focusing particularly on the protest, storytelling, ritual, resistance, nostalgia, and mythological elements in their works’ sonic effects.
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Savasta Alsina, Mene. "Music is not enough." Revista Música 20, no. 1 (July 9, 2020): 381–400. http://dx.doi.org/10.11606/rm.v20i1.170852.
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The first event in Argentina that ever included arte sonoro in its programming was Experimenta. Through its concerts and workshops, it was a milestone for the argentinean experimental music at the end of the 90s. Since its first edition in 1997, it challenged circles and procedures already stabilized in music, bringing together artists from different generations and sonic searches. It was in its year 2000 edition that the festival incorporated arte sonoro as one of its tags for the first time. What does it happen when it becomes necessary, from one moment to the next, to use a new expression to name an artistic activity?
That music is not enough is the hypothesis of this outline of the sound art history in Argentina, which aims to illuminate the foundational moment when that category arte sonoro began to be used in the programming of events and festivals.
From the observation of the textual framework around works and events -that is, catalogs, critical texts or press releases- we will see that, since 2000 in Argentina, the initial circulation of the expression arte sonoro shows what could be understood as musical origin, as a reaction to what was established, and as one of the features that contribute to the particular identity of early Argentine arte sonoro, in contrast with other histories -from other geographies- that usually link the origin of sound art with art installations and the participation of galleries and museums.
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Yampolschi, Roseane, Clayton Mamedes, and Paulo Nenflidio. "Poéticas em arte sonora: entrevista com Paulo Nenflidio." Revista Vórtex 9, no. 2 (December 10, 2021): 1–27. http://dx.doi.org/10.33871/23179937.2021.9.2.6.
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Paulo Nenflidio, in his biographic note, presents himself as an artist who works at the intersection between art, science and technology. A multiple and inventive artist, his works comprise sculptures, installations, objects, instruments and drawings in which sound, electronics, movement, construction, invention, randomness, physics, control, automatons, and workaround come together as elements of artistic expression. Paulo Nenflidio holds a degree in Fine Arts from the School of Communication and Arts of the University of São Paulo and is an electronics technician graduated from the Lauro Gomes Technical School in São Bernardo do Campo. Born in São Bernardo do Campo, the artist maintains his studio in this city. In this interview, we seek to deepen our study about the poetics of Paulo Nenflidio's works. How his creative trajectory developed, conceptual inspirations that guided the development of his creative processes and his artistic research, as well as the role of sound and silence as forms of poetic expression are issues addressed in this conversation. This interview was conducted by email, between the 20th and 24th of July 2021.
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Sovhyra, Tetiana. "METHODS OF DECODING DATA USING BIOLOGICAL RESEARCH AND ARTIFICIAL INTELLIGENCE IN CULTURE PRACTICE." Мiждисциплiнарнi дослiдження складних систем, no. 18 (2021): 5–14. http://dx.doi.org/10.31392/iscs.2021.18.005.
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The article is a comprehensive analysis of projects aimed at studying AI technologies and culture interaction. The author examines the specifics and uniqueness of art works created through AI-technologies using examples of projects from “ThoughtWorks Arts Global Research”, “Innovation Laboratory of New Technologies”, “Isolation Foundation” and “IZONE Creative Association”. The article analyzes the principle of selection of materials, algorithmic analysis of data, the interdependence of digital data received from the user's brain impulses with audiovisual content, the possibility of instant data processing in the process of creating an artistic product. The author explores the principles of tracking brain function and decoding human genetic data, which are used to create art projects. The article assesses the potential that AI possesses and explains the conditions necessary for the implementation of AI-technology in culture. As a result of the study, the author revealed that through algorithmic analysis it is possible to transform digital data into a system of expressive signs of visual and sound arts, to broadcast the received audiovisual content. The author finds out that through these technologies it is possible to create interactive art forms (interactive film, installations, immersive presentations, etc.).
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Rogalsky, Matt. "Audience is a verb: A conversation with Darren Copeland." Canadian Theatre Review 129 (January 2007): 51–53. http://dx.doi.org/10.3138/ctr.129.010.
Full textAbstract:
Darren Copeland: I think in a lot of cases I’m taking my studio background and trying to apply it to public situations. Playing on the 401 is perhaps an extension of other installations that I’ve done, which have been in public spaces, where I may have been creating something in relation to the visual world, having sound that complements it or comments on it in some fashion. Last November at the Inter active ’05 festival in Toronto I made a piece that was called Intersections. It was on a pedestrian bridge, about 100 feet long, that goes over the train tracks. The bridge connects the two buildings of the Metro Convention Centre. In one of the buildings of the centre, the Toronto Art Fair was going on , and Intersections was a kind of welcoming piece in a sense. I did recordings of the br idge and people going by and stuff-just the sound of people walking through it, and also the sound of the trains underneath as they passed by. I was interested in playing those sounds back into the space and then manipulating them, to kind of alter reality and create a kind of ambiguity between what is real and what is imaginary. And so, sometimes , the sound is quite manipulated and has maybe only a very slight sense of it being a train or someone talking or some one walking, but other times the sound is realistic .There’s that sort of “look over the shoulder” thing that sometimes people have when they think they hear something that’s not actually there. It also kind of altered people’s awareness of space. The bridge was no longer just a way to get from one place to another; it was a place to visit. I think it worked in that way. I’d like to do mor e pieces like that. For the Open Ears festivals in Kitchen er I have been doing pieces in the City Hall rotunda. Those are eight-channel soundscape pieces.