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Artykuły w czasopismach na temat "Sound installations (art)"
Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk i Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models". Postmodern Openings 13, nr 2 (24.06.2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.
Pełny tekst źródłaFraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley i Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation". INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, nr 4 (1.02.2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.
Pełny tekst źródłaSmart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art". AMP: American Music Perspectives 2, nr 2 (grudzień 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.
Pełny tekst źródłaThompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art". Leonardo Music Journal 25 (grudzień 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.
Pełny tekst źródłaBasanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations". Organised Sound 20, nr 2 (7.07.2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.
Pełny tekst źródłaRose, Ethan. "Translating Transformations: Object-Based Sound Installations". Leonardo Music Journal 23 (grudzień 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
Pełny tekst źródłaLacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations". Organised Sound 21, nr 2 (30.06.2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.
Pełny tekst źródłaDziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej". Polski Rocznik Muzykologiczny 20, nr 1 (1.12.2022): 114–31. http://dx.doi.org/10.2478/prm/2022-0003.
Pełny tekst źródłaDziewanowska-Pachowska, Marta. "Przez zabawę ku źródłom dźwięków — przyczynek do badań instalacji dźwiękowych w twórczości Lidii Zielińskiej". Polski Rocznik Muzykologiczny 20, nr 1 (1.12.2022): 114–31. http://dx.doi.org/10.2478/prm-2022-0003.
Pełny tekst źródłaSteinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion". Leonardo 34, nr 2 (kwiecień 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.
Pełny tekst źródłaRozprawy doktorskie na temat "Sound installations (art)"
Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
Pełny tekst źródłaTitle from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
Pełny tekst źródłaMiller, Nolan W. "Athenian Acoustics: A Sonic Exploration". Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
Pełny tekst źródłaHull, Aaron Coates. "Corroded memories". Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.
Pełny tekst źródłaWilliams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /". AUT University, 2007. http://hdl.handle.net/10292/136.
Pełny tekst źródłaWoods, Linda Del. "Seven sacred spaces : an intertextual investigation". Thesis, Queensland University of Technology, 2002.
Znajdź pełny tekst źródłaLe, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité". Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.
Pełny tekst źródłaThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
Silva, Lilian Campesato Custódio da. "Arte sonora: uma metamorfose das musas". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17062008-152641/.
Pełny tekst źródłaThe main purpose of this research is to map the central aspects that can be observed in a representative repertoire of art works that since the 70\' is been labeled Sound Art. This work starts from the research and analysis of this repertoire based on the available bibliography, audiography, exhibitions\' catalogues and other sources. A representative number of artists are investigated and their work analyzed. From this research it becomes evident that this repertoire is extremely large ample and divergent, and that the delimitation of this field is a difficult task. However, for the accomplishment of a mapping of the main concepts that area related to Sound Art, we proceeded the analysis of a number of works. Three basic references are investigated: Electroacoustic Music; Installation Art and Performance. Afterward the research investigated five aspects that we consider to be of fundamental importance to the comprehension of this repertoire: Sound, Technology, Interaction, Space and Time
Greated, Marianne. "Painting in a sonic environment". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.
Pełny tekst źródłaCentola, Nicolau André Campanér [UNESP]. "Anthemusa: o som e o acaso em ambientes sonoros". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139563.
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Esta tese de doutorado parte da hipótese de que a incorporação consciente do acaso no processo criativo artístico que envolve a arte sonora é um elemento fundamental para a configuração de uma estética própria na atualidade. Para testar esta hipótese, foi analisada a aplicação do acaso nas artes sonoras a partir do século XX e suas implicações na produção de linguagem baseada neste conceito utilizando dispositivos computacionais. Como consequência deste estudo, foi proposto o desenvolvimento e a implementação de uma instalação sonora, chamada Anthemusa, na qual foram aplicados os preceitos do acaso como elemento principal de criação artística.
This doctoral thesis develops from the hypothesis that the conscious incorporation of chance in sound art’s creative process is a key element in the configuration of its aesthetic. In order to test this hypothesis, we analyse twentieth century sound art and its use of computational devices. As a consequence of this study, we propose the development of a sound installation entitled Anthemusa that, invariably, applies the precepts of chance as its central element.
Książki na temat "Sound installations (art)"
Auinger, Sam, i Erwin Stache. Bonn hoeren: Stadtklangkunst = urban sound art. Bonn: Beethovenstiftung, 2012.
Znajdź pełny tekst źródłaHannover, Kunstverein, red. David Claerbout: Video works, photographic installations, sound installations, drawings 1996-2002. Brussels: A Prior, 2002.
Znajdź pełny tekst źródłaGanter, Jo. Drawing sound. Woodstock, NY: Woodstock Byrdcliffe Guild, 2017.
Znajdź pełny tekst źródłaMinard, Robin. Robin Minard, 4: Vier Räume/vier Installationen = four spaces/four installations = quatre espaces/quatre installations = quatro espacios/quatro instalaciones. Heidelberg: Kehrer Verlag, 2004.
Znajdź pełny tekst źródłaJade, Keijzer, red. Paul Panhuysen: Long strings, 1982-2011. Eindhoven: Stichting Het Apollohuis, 2011.
Znajdź pełny tekst źródłaPetitgand, Dominique. Dominique Petitgand: Installations (documents). Paris?]: Éditions MF, 2009.
Znajdź pełny tekst źródłaCelant, Germano. Art or sound. Milano: Fondazione Prada, 2014.
Znajdź pełny tekst źródłaEller, Ulrich. Ulrich Eller: Konzert für Schneckenklavier mit Seebrücke & Zeichnungen. Saarbrücken: Pfau, 2007.
Znajdź pełny tekst źródłaEller, Ulrich. Ulrich Eller: Neuer Berliner Kunstverein 1992, Stadtgalerie Saarbrücken 1993. Saarbrücken: Die Stadtgalerie, 1992.
Znajdź pełny tekst źródłaAlbrecht, Hartmut, i Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.
Znajdź pełny tekst źródłaCzęści książek na temat "Sound installations (art)"
Martins, Tiago, João Correia, Sérgio Rebelo, João Bicker i Penousal Machado. "Portraits of No One: An Interactive Installation". W Artificial Intelligence in Music, Sound, Art and Design, 104–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43859-3_8.
Pełny tekst źródłaOcampo, Rodolfo, Josh Andres, Adrian Schmidt, Caroline Pegram, Justin Shave, Charlton Hill, Brendan Wright i Oliver Bown. "Using GPT-3 to Achieve Semantically Relevant Data Sonificiation for an Art Installation". W Artificial Intelligence in Music, Sound, Art and Design, 212–27. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29956-8_14.
Pełny tekst źródłaVesanen, Teemu, Jari Shemeikka, Kostas Tsatsakis, Brian O’Regan, Andriy Hryshchenko, Eoin O’Leidhin i Dominic O’Sullivan. "Digital Tools for HVAC-Design, Operation and Efficiency Management". W Innovative Tools and Methods Using BIM for an Efficient Renovation in Buildings, 63–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04670-4_5.
Pełny tekst źródła"Sound Installations and Spatialization". W Women, Art, and Technology. The MIT Press, 2003. http://dx.doi.org/10.7551/mitpress/7274.003.0029.
Pełny tekst źródłaDavidson, Michael. "Siting Sound". W Distressing Language, 51–71. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479813827.003.0003.
Pełny tekst źródła"Sound in the Audiovisual Media Arts". W Sound in Indian Film and Audiovisual Media. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463724739_ch11.
Pełny tekst źródłaHildebrand, Jayne. "Coda". W Novel Environments, 181—CCP17. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192888471.003.0006.
Pełny tekst źródłaLippman, Alexandra. "Cash". W Paid, redaktorzy Bill Maurer i Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0009.
Pełny tekst źródłaRocamora, Isabel. "Performance, Moving Image, Installation: The Making of Body of War and Faith". W Cinematic Intermediality, 176–84. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0013.
Pełny tekst źródłaCerwén, Gunnar. "On the Intersection Between Speaker Installations and Urban Environments". W Advances in Civil and Industrial Engineering, 23–45. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3637-6.ch002.
Pełny tekst źródłaStreszczenia konferencji na temat "Sound installations (art)"
Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.
Pełny tekst źródłaBaglione, Melody, Dale Short, Caitlin Correll i David Tan. "Developing Installations and Activities for an Interactive Light Studio at the American Sign Language and English Lower School". W ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86438.
Pełny tekst źródłados Santos, Camila, i Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
Pełny tekst źródłaNascimento, Suely. "Marlene's house". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
Pełny tekst źródłaDrymonitis, Alexandros, i Dimitrios Charitos. "ATHsENSe: A Multisensory Outdoor Installation". W ICAD 2021: The 26th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2021. http://dx.doi.org/10.21785/icad2021.035.
Pełny tekst źródłaMurphy, Jim, Dugal McKinnon i Mo H. Zareei. "Lost Oscillations: Exploring a City’s Space and Time With an Interactive Auditory Art Installation". W The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.019.
Pełny tekst źródłaFehr, Jonas, i Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation". W MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.
Pełny tekst źródłaFoo, Louise, i Jonas Fritsch. "Eleven Movements of the Cryoscape – Ecological Explorations in Sonification for Affectively Engaging with Climate Change". W 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-54-full-foo-et-al-movements-of-the-cryoscape.
Pełny tekst źródłaBundin, Andrey, i Natalia Fedorova. "Ether Island: Investigating sound movement correlations in a generative interactive installation". W Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.47.
Pełny tekst źródłaMazzocchio, Mattia. "Design and Implementation of an immersive, cooperative Net Art installation using Web Csound". W 2023 4th International Symposium on the Internet of Sounds. IEEE, 2023. http://dx.doi.org/10.1109/ieeeconf59510.2023.10335251.
Pełny tekst źródłaRaporty organizacyjne na temat "Sound installations (art)"
Crocker, Malcolm, P. Raju i S. Yang. NPR199201 Standard Sound Power Level Specification and Measurement Procedure. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), październik 1992. http://dx.doi.org/10.55274/r0011640.
Pełny tekst źródłaStevens, R. D., B. V. Chapnik i B. Howe. L51960 Acoustical Pipe Lagging Systems Design and Performance. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), październik 1998. http://dx.doi.org/10.55274/r0010392.
Pełny tekst źródłaWei, Fulu, Ce Wang, Xiangxi Tian, Shuo Li i Jie Shan. Investigation of Durability and Performance of High Friction Surface Treatment. Purdue University, 2021. http://dx.doi.org/10.5703/1288284317281.
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