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Journal articles on the topic 'Sound installations (art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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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 bein
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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,
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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 Rosen
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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
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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 or
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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
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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
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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
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10

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
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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
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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
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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 197
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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 cann
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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: in
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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 performan
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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 sensor
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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 discu
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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
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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
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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, t
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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 potential
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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 possib
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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
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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 di
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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 pract
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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
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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 racia
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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
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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
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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, wh
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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. I
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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
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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
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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.

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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,
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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 re
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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
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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
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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 characte
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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
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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
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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 t
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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 Gom
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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 dat
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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.

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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 build
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