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Rozprawy doktorskie na temat „Sound installations (art)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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1

Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

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2

Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.

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Miller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.

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Hull, Aaron Coates. "Corroded memories." Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.

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This thesis seeks to examine the concept of the corroded memory, an idea that has driven the development of a large body of original creative work which includes performances, compact disk recordings, audio walks and video installations. I have completed this work during the last four years of part time study as a Master of Arts - Research student, enrolled at the University of Wollongong, Faculty of Creative Arts.In this thesis I examine, analyse and provide a context for a variety of publicly presented sound andvideo works. The conceptual framework and intent, together with the compositional

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Williams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /." AUT University, 2007. http://hdl.handle.net/10292/136.

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This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on '

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6

Woods, Linda Del. "Seven sacred spaces : an intertextual investigation." Thesis, Queensland University of Technology, 2002.

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

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7

Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.

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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette d

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Silva, Lilian Campesato Custódio da. "Arte sonora: uma metamorfose das musas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17062008-152641/.

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Esta pesquisa tem o objetivo de realizar um mapeamento de questões presentes em um conjunto de obras que, a partir de meados da década de 1970, vêm se agrupando sob o termo - arte sonora. Para tanto, este trabalho parte de uma aproximação com o repertório, na medida em que realiza um levantamento e análise, por meio de bibliografia, discografia, catálogos de obras e outras fontes, abordando o trabalho de vários artistas que se destacam nesse âmbito, bem como apontando diversas questões extraídas desse primeiro passo. A partir daí, constatou-se que esse repertório é bastante amplo e divergente,

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9

Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.

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The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one

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10

Centola, Nicolau André Campanér [UNESP]. "Anthemusa: o som e o acaso em ambientes sonoros." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/139563.

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Submitted by NICOLAU ANDRE CAMPANER CENTOLA null (centola.nicolau@gmail.com) on 2016-06-27T12:40:35Z No. of bitstreams: 1 doutorado_final_Nicolau_Centola.pdf: 4044594 bytes, checksum: 9895713d712e6a74c342590dd2836715 (MD5)<br>Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-28T16:53:47Z (GMT) No. of bitstreams: 1 centola_nac_dr_ia.pdf: 4044594 bytes, checksum: 9895713d712e6a74c342590dd2836715 (MD5)<br>Made available in DSpace on 2016-06-28T16:53:47Z (GMT). No. of bitstreams: 1 centola_nac_dr_ia.pdf: 4044594 bytes, checksum: 9895713d712e6a74c34

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11

Drummond, Jon R. "Interactive electroacoustics." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.

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Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to

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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.

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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette d

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13

Mamedes, Clayton Rosa 1983. "Design sonoro e interação em instalações audiovisuais." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285310.

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Orientadores: Denise Hortência Lopes Garcia, Jônatas Manzolli<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T20:30:38Z (GMT). No. of bitstreams: 1 Mamedes_ClaytonRosa_D.pdf: 10108591 bytes, checksum: 26cc15811eccc58549c0ee63faad6472 (MD5) Previous issue date: 2015<br>Resumo: A presente tese descreve o processo criativo das instalações audiovisuais interativas Abstrações, Cerejeira e Caminho das águas, relacionando-as ao objetivo principal da pesquisa, que consiste em analisar os mecanismos de integração entre o projeto co

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14

Drummond, Jon R. "Interactive electroacoustics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35367.

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Thesis (Ph.D.)--University of Western Sydney, 2007.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.

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15

Ortiz, Ceron Maria Carolina. "Paysage esthétique de l'installation sonore." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010566.

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On appelle installation sonore une forme d'art multimédia dans laquelle l'accent est mis en particulier sur l’aspect sonore, sans pour autant ignorer toutes les autres composantes qui constituent l’installation. Bien qu’elle soit une forme classée parmi les arts plastiques, l’installation sonore se rapporte plutôt à l’art sonore. En effet, l’art sonore se caractérise par la prééminence de l’usage du son comme moyen d’expression et comme préoccupation artistique (le grand nombre de manifestations, de blogs et de festivals d’art sonore en témoignent). Parmi les pratiques expérimentales ayant tra

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16

Le, Fur Iris. "La plasticité sonore : la création visuelle et sonore, une interaction sensorielle, émotionnelle et sémantique." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0101.

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Sur la base d’une pratique artistique explorant le phénomène vibratoire de la matière, cette thèse propose une réflexion sur les interactions entre matières sonores et matières visuelles au sein d’une même production plastique. Il s’agit d’analyser l’acte de création composé d’un agencement sensible de divers éléments auditifs et visuels réagissant de manière réciproque et provoquant une mutation de leur perception sensorielle, émotionnelle et sémantique. Un tour d’horizon de certains grands acteurs de l’histoire des pratiques sonores au XX° et XXI° siècle permettra d’aborder la question de l’

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17

Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.

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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of thei

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18

Hindman, Julie Lynn. "Shadow of a Memory." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1317.

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

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19

Gumiela, Josh. "Distance Generation: Postmemory and the Creation of New Family Histories." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/592.

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This paper explores the `creative' process of postmemory in relation to family photographs, story telling, the absence of memory, and the subsequent construction of new and elastic family histories in my MFA thesis artwork. I define postmemory and how it relates to the limited number of existing photographs that document my family's experience as displaced persons and immigrants. I also discuss how literalist art has influenced the works in my thesis exhibition and outline the reasons for the absence of actual photographs in my work. Then, drawing from Freud's ideas of the condensation of drea

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20

Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.

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

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21

Ferretti, Martinez Ulises Dardo. "Entornos sonoros : sonoridades e ordenamentos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/35083.

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

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dalton, timothy. "A Space for Absence." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1660.

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This thesis focuses on the evolution of my work created during my two years of study at Virginia Commonwealth University. Although I touch upon my influences what I am writing is a reflection after the fact that does not necessarily encompass my original intent or inspirations for these works. I find my inspiration from personal discoveries within my daily life. Light flickering through the rails of a fence as I walk by makes me more aware of my body's movement in space. Watching the steady condensation of water droplets forming on a fountain creates a moment of pause within the world. T

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23

Oxenham, Michelle L. "Processes of transformation : art into pop and back again." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78374/1/Michelle_Oxenham_Thesis.pdf.

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

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Blatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.

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In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly

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25

Tsuda, Carlos Eduardo. "Arte sonora e espaço: estética e novas possibilidades poéticas." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18142.

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Made available in DSpace on 2016-04-29T14:23:27Z (GMT). No. of bitstreams: 1 Carlos Eduardo Tsuda.pdf: 20138115 bytes, checksum: 226dd399b6e3802c0d3749b3b6ccc005 (MD5) Previous issue date: 2014-03-13<br>Sound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sou

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Ollestad, Dana. "Auto Tune." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2812.

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

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Martins, Guilherme de Castro Duarte. "Cartofonias: expedições ao território volátil dos sons." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tede/5846.

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Svrckova, Tatiana. "Nexus." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341527229.

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Verban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.

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Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to

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Verban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.

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Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to

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31

Ottavi, Julien. "Les nouvelles formes de pratique sonore en réseau : pratique collaborative, création partagée, Internet comme non-espace, écoute prolongée et installation permanente." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0266/document.

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Depuis l'avènement des technologies portables et du réseau Internet, de nombreux artistes conçoivent leurs œuvres au delà d'un espace et d'un temps donnés et inventent des formes permanentes et immatérielles disséminées sur les réseaux. Dans le cadre de cette recherche, il s'agit de produire à la fois une série de travaux sonores utilisant le réseau, des modes de participation collaboratifs et également de proposer une pensée sur les concepts révélés par ces nouvelles pratiques et ces formes d'écritures artistiques comme celle du noise, de la poésie sonore et des musiques expérimentales. La re

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32

Koniar, Martin. "Vazbení." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-377162.

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My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amp

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33

Mijouin, Lola. "Invisible Aesthetics of Noise." Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6856.

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Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surro

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34

House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.<br>A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

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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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Stampe, Elin. "Sonar Sea : The acoustic experience of the Baltic Sea dynamics." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7830.

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This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involv

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Cuevas, Santamaría Sergio Axel. "My MFA Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524073680662621.

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Wooller, René William. "Techniques for automated and interactive note sequence morphing of mainstream electronic music." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/20232/1/Rene_Wooller_Thesis.pdf.

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Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to c

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Wooller, René William. "Techniques for automated and interactive note sequence morphing of mainstream electronic music." Queensland University of Technology, 2007. http://eprints.qut.edu.au/20232/.

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Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to c

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Chen, Yi-Hsiu, and 陳怡秀. "Creating Art Installations by Converting Digital Information into Sound and Images." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23640183634991919761.

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碩士<br>元智大學<br>資訊傳播學系<br>99<br>Image and sound are the main elements and sources in digital art creation.Many artists often think up the creative subject by their own life experience, this is a more sensory way to present the work. Although, in digital art field, some artists are also good at engineering or mathematics, so that we can notice some digital art works try to integrate art with science phenomenon. These works presenting some rational aspects of creativity have open up a new horizon in digital art. 〈Tracking〉and 〈Chladni Satellite〉are based on Information Aesthetics,and the main

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Hirschausen, David. "Body space interaction : sound as a spatial mnemonic." Master's thesis, 2007. http://hdl.handle.net/1885/149581.

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Drummond, Jon R., University of Western Sydney, College of Arts, and School of Communication Arts. "Interactive electroacoustics." 2007. http://handle.uws.edu.au:8081/1959.7/35367.

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Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to

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Dziewanowska-Pachowska, Marta. "Dzieło w ruchu. Instalacje dźwiękowe Zygmunta Krauzego, Krzysztofa Knittla i Marka Chołoniewskiego." Doctoral thesis, 2018. https://depotuw.ceon.pl/handle/item/3078.

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Rozprawa poświęcona jest sztuce instalacji dźwiękowych. Tytułowe „dzieło w ruchu” stanowi z jednej strony nawiązanie do terminu, jakim Umberto Eco określił szczególny typ dzieła otwartego, a z drugiej, jest to zespolenie dwóch podstawowych kategorii – dzieła i ruchu. Dzieło, za Tadeuszem Kotarbińskim, rozumiane jest tu jako skutek działania, a nie materialny artefakt. Ruch natomiast jest naturalnym elementem tkwiącym w dźwiękach oraz w tworzonych przez nie strukturach, a w sztuce instalacji dźwiękowych dodatkowo realizuje się w aktywizacji ciała interaktora. Rozprawa składa się z wprowadzenia,

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LIEN, WAN-YU, and 連婉妤. "The Creation and Research of “Simple Sonic” on Interactive Sound Installation Art." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7mt97w.

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碩士<br>國立臺灣藝術大學<br>多媒體動畫藝術學系新媒體藝術碩士班<br>102<br>“Simple Sonic” is an interactive sound installation with tablet interface. Using simple swiping motions, the user creates instant visual and musical feedback. The visual and musical reactions make it equally appealing to children and adults alike. The interface is basic to the point of needing no explanation-once the user starts touching they will quickly learn the contours and controls. The unique user experience and instant feedback makes fun and interesting.

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"Cognize Normal-Like Pleez: Video Installation." Master's thesis, 2018. http://hdl.handle.net/2286/R.I.49197.

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abstract: I believe the human mind is not an accurate reproducer of objects and events, but a tool that constructs their qualities. Philosophers Bowman Clarke, James John, and Amy Kind have argued for and against similar points, while Daniel Hoffman and Jay Dowling have debated cases from a psychological perspective. My understanding of their discourse surfaces in Cognize Normal-Like Pleez, a video installation designed to capture the enigmatic connection between perceivers and the things they perceive. The composition encapsulates this theme through a series of five videos that disseminate c

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"Elements, Fancy Auras." Tulane University, 2013.

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