Academic literature on the topic 'Sound sculpture'
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Journal articles on the topic "Sound sculpture"
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Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 41, no. 2 (April 2008): 154–58. http://dx.doi.org/10.1162/leon.2008.41.2.154.
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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
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Baschet, Francois, and Bernard Baschet. "Sound Sculpture: Sounds, Shapes, Public Participation, Education." Leonardo 20, no. 2 (1987): 107. http://dx.doi.org/10.2307/1578325.
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Martínez-Sala, R., J. Sancho, J. V. Sánchez, V. Gómez, J. Llinares, and F. Meseguer. "Sound attenuation by sculpture." Nature 378, no. 6554 (November 1995): 241. http://dx.doi.org/10.1038/378241a0.
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Walsh, Lorraine. "Sound-Lines." Leonardo 43, no. 5 (October 2010): 502. http://dx.doi.org/10.1162/leon_a_00052.
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Sound-Lines is an interactive sound sculpture composed of sensors that trigger archived sounds and animated words. Our collaborative project, supported by e-MobiLArt (European Mobile Lab for Interactive Media Artists), invites the visitor to engage in a playful exploration of shifting perspectives and perceptual discovery. The collaborating artists are Cliona Harmey (IR), Christine Mackey (IR), Nita Tandon (AU), and Lorraine Walsh (US).
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Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 20, no. 2 (1987): 143. http://dx.doi.org/10.2307/1578330.
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Keylin, Vadim. "Corporeality of Music and Sound Sculpture." Organised Sound 20, no. 2 (July 7, 2015): 182–90. http://dx.doi.org/10.1017/s1355771815000060.
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This article aims to sketch a theory of sound sculpture, one that would explain the variety of forms this artistic practice might take on and define it in relation to other art forms. My hypothesis is that in order to do this we must focus on the traits of sound sculpture connecting it to music rather than on those separating the two. A useful instrument to analyse this connection is Harry Partch’s concept of corporeal music. In contrast to Western classical music, which he viewed as abstract and devoid of life, Partch envisioned a music that would emphasise the physicality of sound-making and engage the listener on a more visceral level. Investigating a number of works from all parts of the sound sculpture spectrum, I argue that all the various practices that comprise the art form present the core traits of Partch’s musical ideal (physicality of music, audience engagement, and unity of the sonic and the visual) to a substantial extent. Analysing sound sculpture in light of its connection to music brings to the fore a number of musical issues for which this new art form provides a new perspective. Among these are the agency of the composer and the listener, the function and nature of a score, as well as the role of technology in music-making. These issues, along with the general idea of corporeality of music, compose a discourse that transcends the boundaries of different subgenres of sound sculpture, allowing for theorisation of the art form as a whole.
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Emery, Lin, and Robert Morriss. ""Kinesone I": A Kinetic Sound Sculpture." Leonardo 19, no. 3 (1986): 207. http://dx.doi.org/10.2307/1578238.
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (August 2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Kuo, Michelle. "Divinations." Programmer, no. 13 (June 29, 2010): 38–55. http://dx.doi.org/10.7202/044039ar.
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The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking through the sculptural installation, one experienced shifting acoustic, spatial, and visual effects. This text seeks to understand how the interactions between artist and engineers—and between sound sculpture and viewers—engaged systems of industrial and postindustrial production, broadcast radio, and audiovisual reception.
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Sharpe, Leslie. "Beak Disorder: A Sound and Sculpture Installation." Leonardo 51, no. 3 (June 2018): 287–88. http://dx.doi.org/10.1162/leon_a_01535.
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This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. “Beak Disorder” is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called “avian keratin disorder” where the bird’s beak becomes distorted and elongated. The work includes a series of 3D printed distorted beaks as well as a sound piece and web component.
Dissertations / Theses on the topic "Sound sculpture"
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Bogdany, Bert. "A VISUAL SOUND." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2437.
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The repetitive nature of my work allows me to divide the tactile experience of the creative process into a contemplative state. Repetition causes the body to move automatically, less aware of its surroundings; the recurrent contact of the hand with the form causes them to merge systematically. This is the point where the sculpture for me becomes conceptually complete. It is this harmonious balance between material and the physical process that I wish to reveal to the viewer.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Picado, Vera. "De la sculpture en mouvement à ses prolongements dynamiques : temps, rythme, équilibre instable, son." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30067.
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Cet étude interroge la pratique de la sculpture et sa relation avec le terme qui la nome, dans le but de penser et comprendre qu’est-ce que la sculpture ; afin de situer notre pratique personnelle de cet art. En effet, nous constatons que depuis l’adoption des matériaux et des techniques nouvelles, la sculpture n’a cessé de s’enrichir, en franchissant ses limites et en allant à l’encontre de son propre sens. Des multiples transgressions ont permis de la prolonger avec l’incorporation de nouvelles valeurs dynamiques, plastiques et esthétiques. Les dimensions de la sculpture se voient ainsi élargies, par la présence de l’ombre portée, par le déplacement du spectateur et par les multiples facettes de l’espace. Une des valeurs ajoutées las plus riche étant sans doute le mouvement réel ; il apparaît comme conséquence de cette longue évolution, du dépouillement matériel, de l’éclatement du bloc qui rend la sculpture de plus en plus légère, de l’élimination du socle, de la suspension, ainsi que de la manipulation des forces mécaniques et physiques. Tout au long du XXe siècle, des artistes ont fait preuve d’inventivité pour doter leurs œuvres du mouvement réel ; il génère à son tour des relations en devenir, dynamiques. Nous employons le terme dynamique selon l’étymologie grecque de dunamis, dans le sens de « force », et de « possibilité de ». Nous cherchons ainsi à savoir de quelle manière le mouvement de la sculpture peut être initié, prolongé ou enrichi par la présence de phénomènes rythmiques, temporels, sonores et d’équilibre précaire ou éphémère. Éléments qui participant du dit mouvement, en découlent, et parfois le génèrentThe focus of this research questions the practice of sculpting and its relation with the term that defines it. The main goal is to reflect and to understand what exactly a sculpture is, in order to determine our own personal practices in this art. Indeed, it is noted that since the adoption of new materials and techniques, sculpting has seen a continuous process of enrichment, constantly breaking barriers and moving counter to its own origins. Multiples transgressions have permitted to extend sculpting with the incorporation of new dynamic, cosmetic and aesthetic values. The dimensions of sculptures are thus enlarged by the presence of projected shadows, the movement of the spectator and the multiples facets of space. One of the richest added values is without a doubt physical movement. It appeared as a consequence of this long evolution: the shedding and simplification of materials, the breaking-down of the block that renders the sculptures more and more nimble, the elimination of the pedestal, the practice of suspension, as well as the manipulation of physical and mechanical forces. Throughout the twentieth century, artists had proven their ingenuity by endowing their works with actual movement that in turn generated future dynamic relations. Here we employ the term “dynamic” according to the Greek etymology dunamis in the sense of ‘force’ and ‘possibility of.’ Thus, this dissertation will search to find out in what ways the movements of sculptures can be initiated, prolonged or enriched by the presence of rhythmic, temporal and sound phenomenon, including precarious and ephemeral balance. These elements can, by participating in this movement, stem from and at times generate it
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Potts, Ben N. "Sound as, and beyond, sculpture : a creative investigation of physicality, space and movement through otoacoustic emissions." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34772/.
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This research project has explored the relationship between sound and sculpture, looking particularly at how sound can become sculptural. A sound sculpture is defined in this project as a sound-only entity, which explicitly extends sound’s physical and spatial aspects to take on the role of a physical, visual sculpture. In this research, this is achieved by the use of otoacoustic emissions. There is a lack of music and sound art material that actively intends to utilise the creative potential of otoacoustic emissions. This portfolio of works explores the bodily sensation of otoacoustic emissions and importantly, the agency the audience/listener has on changing their own perception and experience of the sound through their movement choices around an installation space. This novel application of otoacoustic emissions is what the author terms ‘otokinetic shaping’. This goes beyond that of the visual sculptural paradigm by introducing an element of audience participation and control. The pieces are created in a manner in which they are a collaboration between the artist and the audience, with the audience having more creative control than the artist on the work’s sound, structure and duration. The works also examine creative themes such as minimalism and indeterminacy controlled by computer algorithms as a method of extending the already limited decisions made in the creative and compositional process by the artist.
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Afonso, Luís Filipe Soares. "A relação da escultura com o som: as formas, os materiais e as técnicas." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/14708.
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A presente investigação tem como objecto de estudo a escultura sonora, centrando-
se essencialmente na correlação de duas áreas, a escultura e o som. Procura analisar
e definir a escultura sonora através de uma pesquisa interdisciplinar entre a ciência,
a tecnologia e as artes visuais.
Este estudo tem por objectivo analisar a origem do entrosamento entre a
escultura e o som, caracterizando o que se pode definir como escultura sonora dentro
do universo ambíguo das artes sonoras e o que a distingue de um instrumento musical.
Neste âmbito, procura desvelar quais foram os agentes que geraram mudança de paradigma
na escultura e de que modo o som foi integrado intencionalmente na produção
do objecto artístico. Para a caracterização utilizou-se uma metodologia baseada na observação
dos objectos, nas suas semelhanças e dissemelhanças, com base na leitura bibliográfica
de áreas específicas e afins, no estudo de casos e na investigação prática.
Conhecer as suas propriedades físicas, que materiais emprega na sua construção, que
formas tem e como o seu sinal acústico é despoletado e se propaga num determinado
meio, permitiu dar uma ordem a um vasto campo da escultura que andava à deriva e é
tendencialmente ‘desviado’ para o domínio musical.
A essência do movimento é efémera, tal como o som, consoante a maior ou
menor velocidade a deslocação de um objecto tem o potencial de vibrar com uma intensidade
capaz de gerar ondas sonoras audíveis. Nesta perspectiva, o estudo da
escultura cinética do início do século XX, a par da evocação do ruído como arte, são
elementos fundamentais na formação da escultura sonora e permitem delinear a barreira
temporal da nossa investigação. Depois da longa travessia pelo mundo dos objectos
sonoros, desde os engenhos mais primitivos até às peças elaboradas com as tecnologias
mais contemporâneas, o caminho revela que o som sempre foi uma presença constante.
A sua integração como elemento plástico permitiu aos artistas a consciência de uma
dimensão temporal que transforma a escultura, porque lhe imprime uma identidade
invisível e acrescenta à experiência uma memória auditiva; Abstract:
The relationship of sculpture with sound
The purpose of this research is the study of the sound sculpture, focusing primarily on the
correlation of two areas, sculpture and sound. Seeks to analyze and define the sound sculpture through
an interdisciplinary research between science, technology and the visual arts.
This study aims to analyze the origin of the interplay between sculpture and sound, featuring
what can be defined as sound sculpture inside the ambiguous universe of sound arts and what distinguishes
it from a musical instrument. In this context, seeks to reveal what were the agents that generated
a paradigm shift in sculpture and the sound was so intentionally integrated into the production of
the artistic object. Used to characterize a methodology based on the observation of objects in their similarities
and dissimilarities, based on the literature of specific reading and related areas, the case study
research and practice. Meet their physical properties, which employs materials in its construction, which
shapes and has as its acoustic signal is triggered and propagates in a given medium, allowed to give an
order to a vast field of sculpture who was adrift and tends to be 'diverted 'to the musical domain.
The essence of the movement is ephemeral, as the sound, depending on the higher or lower
speed displacement of an object has the potential to vibrate with a strength capable of generating audible
sound waves. In this perspective, the study of kinetic sculpture from the early twentieth century,
alongside the evocation of noise as art, are key elements in the formation of sound sculpture and to
delineate the temporal barrier of our investigation. After the long journey through the world of sound
objects, from the most primitive devices to the more elaborated pieces with contemporary technologies, the
path reveals that the sound has always been a constant presence. Its integration as a plastic element
allowed the artists to realize a temporal dimension that transforms the sculpture, because it prints an
invisible identity and adds to the experience an auditory memory.
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Thompson, Andrew. "Light Sensitive." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/245.
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I am an excremental artist. I do not mean an artist who works with feces or is interested in manure but one whose artwork is expelled through the results of process. As a photographer, I am not as interested in indexing a location, a person or a moment as I am dissolving the structure of photography through the manipulation of photographic materials. I typically photograph landscapes that catch my attention for a myriad of reasons. The commonality between these images is anonymity of place. Hints of location are always present but never accentuated, instead their purpose is akin to a forging slug: raw blank material from which my artwork will be created. My photographic slugs are then entered into various processing systems that I have devised over the years. Common processing techniques that I incorporate include hand and machine stitching, chemically altering photographic paper and the integration of open-source electronics. These and other processes are mixed, matched and blended to form the corpus of my work.
The body of my work is not complete without my head, heart and hands. My intellectual interests are constantly feeding the physical processes described above. I have an extended engagement with photography’s rich history along with a critical commitment to philosophy. My intuition is permitted to work in concert with my intellect despite stark contrasts between the two. My intellect looks for structures and speaks in logical thought while my intuition arrives in waves of unarticulated emotions and ‘gut feelings’. The heart’s language is often more difficult to translate than intellectual headband but both are equally valuable in my process. Finally, my hands play a vital role in creating my art. They transcribe the conversation between the head and the heart and physically complete the processes defined prior.
My artwork is not conceived and the built into a structure, instead it is a result of the passing through a system. I consume copious amounts of stimuli (intellectually, visually, emotionally) and digest it through my creative process and the result is my artwork.
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Wang, Linlin. "The sounds on the Silk Road from Xi'an to Urumqi. Soundscape, recording and exposition of the sound." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672184.
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The main objective of the doctoral thesis is to study the Soundscape in the Chinese route of the Silk Road based on the premises issued in 2003 by the Convention for the Safeguarding of the Intangible Cultural Heritage of UNESCO.
In China, no application of this agreement has been used. The research proposed by the doctoral thesis is an important precedent in applying the guidelines concerning the study and preservation of intangible cultural heritage.
The Silk Road represents the exchange and integration of Chinese and Western cultures, and its mysterious and remote atmosphere is fascinating. I have longed for the Silk Road since I was young.
I was exposed to sound media art, soundscape maps, and sound sculpture research in the laboratory of Dr. Josep Cerda at the University of Barcelona.
Finally, it presented the idea of applying sound media art to data analysis of the sound on the Silk Road and archival records.
The General Conference of the United Nations Educational, Scientific and Cultural
Organization.
UNESCO, at its 32nd meeting, held in Paris from September 29 to October 17, 2003. Approved the Convention for the Safeguarding of the Cultural Heritage Intangible, the intergovernmental agreement that Recognizes that communities, groups, and individuals play an important role in the production, safeguarding, maintenance, and recreation of intangible cultural heritage, thereby contributing to enriching cultural diversity and human creativity.
It considers the importance of the Soundscape as an exponent of cultural diversity.
The General objective of this doctoral dissertation is to apply the intangible cultural heritage protection formulated by UNESCO to
"Using sound media art to record and protect the sound landscape of typical areas on the Silk Road."
Through a literature review of Western sound research and the current sound landscape research status in China, China is currently conducting sound landscape research and research on a certain designated area. Quantitative analysis exists, but there is no study on "The sounds on the Silk Road from Xi'an to Urumqi."
The Silk Road is a vast area and has many research limitations in terms of geography. This research uses ethnographic research as the main research methodology, and finally determines the research site in China from Xi'an to Urumqi in Six specific regions.
In Chinese history, the Silk Road started from Xi'an, Shaanxi Province, and ended in
Xinjiang Province, the last region connecting China with Eurasia.
I passed through the Longmen Grottoes in Luoyang, Henan Province, the surround-ing areas of Mogao Grottoes in Gansu Province, and the surrounding regions of Qin- ghai Lake in Xining City Qinghai Province. As the gathering area of ethnic minorities in the southwest of China's Silk Road, Yunnan Province also includes this doctoral thesis research.
Try to find the voices on the Silk Road that are most worthy of investigation and preservation, and conduct field investigations and quantitative analysis.
The purpose of the research is to use a sound media library, soundscape map, and sound art museum display to reflect the ecological landscape environment of the Silk Road, the urban human environment, and the status quo of historical relics. Based on this, establish a sound landscape database.
To form a digital map of the Soundscape, making it an important carrier for the protection and inheritance of the sound landscape on the Silk Road, as a basis for academic and theoretical research on protecting intangible cultural heritage on the Silk Road.
The second objective of the research is to establish a sound media art laboratory and a sound documentation center in Shanghai Donghua University and Shanghai Arts & Design Academy, to supplement the current lack of sound media art as a research direction in design education in China. The third research goal is to apply future sound media art combined with big data artificial intelligence to serve society.
Apply intelligent sound design as an essential means of exhibition and display and demonstrate in Chinese museums.
In terms of research conclusions and social influence, this doctoral thesis puts forward for the first time "the application of sound media art to protect and inherit the soundscape of the Silk Road". First of all, a set of core methodology and research techniques in the research of this doctoral dissertation applied to the academic study of soundscape protection on the Silk Road. Due to the limitations of the research funding and time of the doctoral thesis, only investigate six important areas. I will not terminate this research because of the end of this paper. Researchers will continue to study some other sub-important regions of the Silk Road in China. This doctoral thesis will lay a theoretical foundation for China and the world to study the "Silk Road" soundscape research.
Introduce the establishment method of sound media library into the design art education of Chinese colleges and universities. To make up for the lack of research in Chinese universities that specifically focus on sound art design instead of music theory research under art design research. The third is to create a sound media library and make an interactive multimedia map to be applied to the soundscape guide of the future cultural journey.
Use digital media technology and sound media art principles to design a virtual interactive sound museum. Establish a complete set of sound expressions, protect and Inheriting the Soundscape of the Silk Road while driving the richness of cultural tourism in the southwest and northwest regions of China. The audience can understand the history and culture of the Silk Road through acoustic sensory experience in multiple dimensionsLa finalidad de esta investigación es establecer un archivo sonoro de la Ruta de la Seda, en su recorrido en China, aplicando las directrices de la UNESCO, establecidas en la Convención para la Salvaguarda del Patrimonio Cultural Inmaterial, a partir de una metodología teorico-práctica de recogida de datos mediante grabaciones de campo y geolocalizadas mediante mapas sonoros. A lo largo de los 5 años de investigación, se ha podido constatar la transformación cultural de la zona de estudio debido a la irrupción de las nuevas tecnologías y la creciente industrialización, aspectos que constatan la necesidad de este tipo de investigaciones que hemos llevado a cabo, ya que los sonidos tradicionales del paisaje sonoro de la Ruta de la Seda están en vías de desaparición, por lo tanto es muy importante preservarlos para el futuro mediante la creación de un archivo sonoro.. En la investigación se han introducido elementos tecnológicos importantes, sobre todo en lo que hace referencia en la exposición de los sonidos del paisaje sonoro y en el diseño de un espacio expositivo interactivo especialmente diseñado para presentar estos sonidos y demás aspectos de la tradición cultural y artesana de la Ruta de la seda. Se ha partido de los estudios realizados por el investigador canadiense R. Murray-Schafer que se desarrollaron en la década de los años 70 del siglo pasado en la Universidad Simon Fraser de Canadá, y que han ido evolucionando hasta la actualidad por las aportaciones sucesivas de I. Westercamp y B. Truaux, que dieron como resultado el Word Sounscape Project, que es el origen del trabajo de investigación que hemos llevado a cabo. Toda la investigación se ha llevado a cabo en el mismo lugar de estudio de la Ruta de la Seda, en su tramo Chino. La gran mayoría de las grabaciones de campo y las imágenes fotográficas, así como las entrevistas y diseño expositivo han sido llevadas a cabo por la autora. Así mismo cabe remarcar que el estudio de las fuentes bibliográficas se han realizado en la mayoría de las veces a partir de libros y artículos redactados en el idioma mandarín, por lo que la accesibilidad a las fuentes primarias, hacen de esta tesis un trabajo de investigación muy importante.
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Williams, Levester R. "A (dis)Assemblage of the Gallery-Growlery." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4258.
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A (dis)Assemblage of the Gallery-Growlery exhibition and writing presents itself as a site of a morphological exploration of language, sound, and objects in tandem with the irreducibly venting black expression. Venting, the black expression never seeks wholeness within objects or language itself for it is a thing-in-itself. Its presence affords critical reception to a residue of delimiting forms. All growls eschew verbal objects for the manifestation of pure phonetics. A growl in a gallery is the growl. The growl resounds through the physicality of the objects and gallery. Also, it unwinds the object-among-objects as the phono-present stretches the discursive and existential limits of the Fanonian phenomenon. Hence, the contention and conjunction between physicality and acoustics—the visual and sonic—is the gallery-growlery.
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Purdie, Christopher Dennis. "Embedded." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339443969.
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Ruiz, i. Carulla Martí. "Escultura sonora Baschet. Arxiu documental i classificació d'aplicacions pel desenvolupament de formes acústiques." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/363918.
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El nostre estudi -basat en les fonts documentals originals i el treball de camp-, aporta una lectura del corpus de l’obra a la llum del sistema conceptual desenvolupat pels Baschet, per facilitar la comprensió dels principis acústics i les seves aplicacions. L’objectiu d’aquesta tesi és posar en valor aspectes estètics i tècnics -en relació als posicionaments vitals dels Baschet respecte la noció de l’Escultura Sonora com a objecte de participació pública-, per afavorir la reflexió i contribuir a establir les bases per a la conservació, recerca i desenvolupaments posteriors, tot insertant-se naturalment en la pròpia trajectòria de l’Escultura Sonora Baschet.Our study -based on original documentary sources and field work- provides a reading of the corpus of work under the light of the conceptual system developed by Baschet, to ease the understanding of acoustic principles and their applications as well. The aim of this thesis is to highlight the technical and aesthetic aspects -in relation to the vital statements of Baschet respect the notion of Sound Sculpture as an object for public participation- to encourage ponder and help laying the foundation for conservation, research and further development, while inserting naturally in the path of the Baschet Sound Sculpture.
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Lega, Lladós Ferran. "La Cimática como herramienta de expresión artística." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/146136.
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En esta tesis doctoral, se exploran las diferentes técnicas cimáticas existentes (la cimática es la ciencia que estudia las representaciones visuales generadas por las ondas de sonido y los fenómenos periódicos de vibración sobre la materia), y se realiza un riguroso estudio desde una perspectiva audio-visual. A partir de los resultados, se desarrollan herramientas para su aplicación en las diferentes disciplinas artísticas contemporáneas.
Books on the topic "Sound sculpture"
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Sound sculpture: Intersections in sound and sculpture in Australian artworks. St. Leonards, Sydney, NSW: Craftsman House, 2001.
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Minard, Robin. Robin Minard: Silent music : zwischen Klangkunst und Akustik-Design = between sound art and acoustic design. Heidelberg: Kehrer, 2000.
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Minard, Robin. Sound installation art. Graz, Austria: Institut für elektronische Musik, Hochschule für darstellende Kunst, 1996.
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Ruccius, Alexis. Klangkunst als Embodiment: Die kinetischen Klangskulpturen Stephan von Huenes. Frankfurt am Main: Primat Verlag, 2019.
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Sugimura, Hiroya. Oto no aru bijutsu: 1989-nen 8-gatsu 13-nichi--9-gatsu 24-nichi, Tochigi Kenritsu Bijutsukan = Moments sonores. Utsunomiya-shi: Tochigi Kenritsu Bijutsukan, 1989.
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Klaus, Stahmer, and Städtische Galerie Würzburg, eds. Klangskulpturen '85. Würzburg: Hochschule für Musik, 1985.
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Peter, Vogel. Peter Vogel: Interaktive Objekte, eine retrospektive. Marl: Skulpturenmuseum Glaskasten, 1996.
Find full textBook chapters on the topic "Sound sculpture"
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Braga, Francisco, and H. Sofia Pinto. "Sculpture Inspired Musical Composition." In Artificial Intelligence in Music, Sound, Art and Design, 3–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72914-1_1.
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Rawcliffe, Susan, and Gene Ogami. "The Flutes and Sound Sculptures of Susan Rawcliffe." In Sound Inventions, 292–301. London: Focal Press, 2021. http://dx.doi.org/10.4324/9781003003526-30.
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Greenfield, Hayes. "Creating Sound Sculptures for Public Performance." In Creative Sound Play for Young Learners, 73–77. New York: Eye on Education, 2024. http://dx.doi.org/10.4324/9781032636986-19.
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Guljajeva, Varvara, and Mar Canet Sola. "AI-Aided Ceramic Sculptures: Bridging Deep Learning with Materiality." In Artificial Intelligence in Music, Sound, Art and Design, 357–71. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29956-8_23.
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Elkana, Amos, and Alexander Polzin. "Note to Sound and Sculpture." In Concepts and the Social Order, xi—xii. Central European University Press, 2011. http://dx.doi.org/10.1515/9786155053429-003.
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Reiter, Walter S. "Transforming Visual Gestures into Sound." In The Baroque Violin & Viola, vol. II, 80–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0008.
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This interlude proposes a way of harnessing powers of expression from a work of art, a sculpture by Bernini, and a mystical text, the autobiography St. Teresa. Imitating the pose of a painting or sculpture, internalizing the emotions with which the artist has painstakingly struggled to endow that work, allows us a glimpse into a world that is not ours, into a time and a place that is far distant but which we, as artists and students of that age, must struggle to understand and make our own. Some may find such an idea too fanciful; others may protest that it is out of place in a book on how to play the violin. But part of a teacher’s job is surely to inspire and it is my hope that some may find the concept enriching, revealing or, at the very least, diverting.
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"Kinetic Instruments, Sound Sculpture, and Industrial Music." In Information Arts. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/3765.003.0028.
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Cerwén, Gunnar. "On the Intersection Between Speaker Installations and Urban Environments." In Advances in Civil and Industrial Engineering, 23–45. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3637-6.ch002.
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This chapter deals with speaker installations and the potential to use such installations for designing soundscapes in cities. Through employment of a designer's perspective, eight intersections between speaker sounds and the environment in which they are installed are brought forward and discussed. The intersections were originally deduced by the author theoretically but have subsequently also been examined in relation to existing speaker installations. This chapter describes and exemplifies each of the eight intersections, which have been denoted as sound sculpture, sound space, atmospheric design, sound and light, sound binocular, sound postcard, interactive event, and retuning of soundscape. Discussions in the chapter cover the role of speaker-induced sound in relation to the notion of acousmatics as well as urban design.
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Cerwén, Gunnar. "On the Intersection Between Speaker Installations and Urban Environments." In Geospatial Intelligence, 1071–93. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8054-6.ch045.
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This chapter deals with speaker installations and the potential to use such installations for designing soundscapes in cities. Through employment of a designer's perspective, eight intersections between speaker sounds and the environment in which they are installed are brought forward and discussed. The intersections were originally deduced by the author theoretically but have subsequently also been examined in relation to existing speaker installations. This chapter describes and exemplifies each of the eight intersections, which have been denoted as sound sculpture, sound space, atmospheric design, sound and light, sound binocular, sound postcard, interactive event, and retuning of soundscape. Discussions in the chapter cover the role of speaker-induced sound in relation to the notion of acousmatics as well as urban design.
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Brown, Richard H. "Losing the Ground." In Through The Looking Glass, 91–138. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.003.0004.
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This chapter centers on the relationships between acoustic projection and cinematic space. I start with Cage’s rhetoric on the medium of magnetic tape as the second transformation of sound materiality. Building on Julia Robinson’s notion of “symbolic investiture,” I survey the divided interpretations of Cage’s platform between musicologists that decode his music according to style analysis that established a compositional logic for his move to indeterminacy and the larger debate among art historians on the split between Neo-Avant-Garde and Abstract Expressionist aesthetics. I argue that Cage’s interaction with film and filmmakers provides a meeting ground for these debates within cinematic space in two films: Cage’s score for the Herbert Matter documentary on sculptor Alexander Calder and colleague Morton Feldman’s score for the Hans Namuth and Paul Falkenberg documentary on Abstract Expressionist painter Jackson Pollock. Both artists saw these commissions as opportunities to formalize connections between their compositional approaches to sound and the visual approach to space, kinetic movement, and ground revealed in the time-based poetics of the moving image. Last, I examine a film collaboration I discovered with the sculptor Richard Lippold that documented his monumental wire sculpture, “The Sun,” in which Cage and Lippold applied chance procedures to the editing process. Lippold’s commission came about as a result of his split with the so-called Irascible 18 collective of New York artists, and the history of its commission and reception reflects both an ideological divide on the materiality of sculpture and larger postwar McCarthy-era politics of passivity and resistance.
Conference papers on the topic "Sound sculpture"
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Петрухина, О. В. "MULTIMEDIA CAPABILITIES IN CREATING ARTISTIC IMAGES (PAINTING, SCULPTURE, ARCHITECTURE)." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.07.
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Возможности мультимедиа (анимация, видео, свет и звук) успешно внедряют сейчас на различных выставочных площадках во всем мире, включая пространства ведущих музеев России, при организации зрелищных световых представлений, оформлении театральных мероприятий и пр. Преимуществом мультимедиа является высокая скорость донесения информации. В статье раскрывается широкий арсенал ее технических возможностей и приемов, описываются перспективы дальнейшего развития. Multimedia capabilities (animation, video, light and sound) are now being successfully introduced to various exhibition venues around the world, including the space of Russia's leading museums, when organizing spectacular light performances, decorating theatrical events, etc. The advantage of multimedia is the high speed of information delivery. The article reveals a wide range of its technical capabilities and techniques, describes the prospects for further development.
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Chess, I. V. "A NEW SOUND OF OLD WOOD IN MODERN SCULPTURE. FEATURES OF CONSTRUCTIVE TECHNIQUES. TRADITION AND INNOVATION." In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_280.
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Jiaqi, Li. "Interaction Design and Realization of Sound-controlled Graphics in Decoration Sculpture Based on Modern New Media and Algorithmic Aided Design Technology." In 2021 2nd International Conference on Artificial Intelligence and Education (ICAIE). IEEE, 2021. http://dx.doi.org/10.1109/icaie53562.2021.00025.
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Wong, Chelene, Schaun Valdovinos, and Barbara Lee. "Revitalization of the Seattle Waterfront." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2022. http://dx.doi.org/10.24904/footbridge2022.090.
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<p>The demolition of the 3.5-km Alaska Way viaduct opened doors for City of Seattle to transform its waterfront district. The overhead, double-decker freeway along the waterfront obstructed views of Puget Sound from the downtown and generated significant noise pollution. The structure cast wide shadows so the cold, barren nature of the ground-level space left it to be unusable for all but parking. Now torn down, people have a new visual connection with Puget Sound from downtown. This has opened opportunities to knit together the reimagined waterfront with the downtown core and to the historic Pike Place Market.</p><p>The new Union Street Pedestrian Bridge is one such opportunity, providing a safe, universally accessible east-west connection for residents, workers and visitors of Seattle. The bridge is a key element of the revitalization of the neighborhood.</p><p>The sculpted form of the bridge uses an elegantly haunched cast-in-place concrete girder and sculpted columns to carry pedestrians out over the hardscape below as an extension of the upper sidewalk. This becomes a skywalk as users approach the waterfront promenade from an elevated perspective. A grand staircase and elevator provide vertical circulation from the bridge deck down to lower grade. Two artwork elements are incorporated into the design – a decorative screen wall along one edge of the bridge, and a 21m long stainless-steel sculpture of a giant fern frond that arches over the staircase. The frond is supported at the top end on the 18m high elevator tower that is glazed in channel glass which will glow like a lantern at night. The overall effect of the interacting features is dramatic and will create a beacon to help with wayfinding along the waterfront promenade.</p>
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WHITCROFT, M. "ACOUSTIC GEOMETRY SCULPTOR - A COMPUTER PROGRAM FOR OPTIMISING ROOM SURFACES." In Reproduced Sound 2008. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17669.
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Drymonitis, Alexandros, and Dimitrios Charitos. "ATHsENSe: A Multisensory Outdoor Installation." In 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.
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The ATHsENSe installation is a four part AV installation based on environmental data from the city of Athens. It comprises four different installations: a visualization projection of the data, a sound installation where the data are being sonified, an installation comprising eight LED displays projecting texts from users of the web app of ATHsENSe, and a light installation reflecting the sound levels of a central point of Athens. The second of the four installations is presented here where data concerning CO, CO2, humidity and others, together with texts provided by the web app users, are being sonified in a six-channel surround installation. In addition to the electronic sounds of the sonification, four kinetic sculptures are being triggered by the system which create acoustic sounds by hitting found objects. This installation is located at the Serafeio complex in Athens, and was commissioned to the Spatial Research Media Group by the municipality of Athens after their successful participation in the Interventions in the City competition.
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Galanter, Philip. "Mini-XEPA: An Installation of Collaborating Intelligent Light and Sound Sculptures." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.80.
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Galanter, Philip. "XEPA - autonomous intelligent light and sound sculptures that improvise group performances." In ACM SIGGRAPH 2014 Art Gallery. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2601080.2677716.
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Dong, Hanzhang. "Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.
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Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.
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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition