VISUAL MUSIC: DISPLAY FORMATS. FULL-DOME PROJECTS. THE LANGUAGE OF A/V SPATIALISATION (original) (raw)
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Towards the Spatial: Music, Art, and the Audiovisual Environment
Sounding the Gallery: Video and the Rise of Art-Music, 2013
The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.
Body, Space & Technology, 2011
This paper proposes reflections of an ongoing nature about the relationship of sound, image, and movement in art. Following a range of productions from stage choreographies to dance films, CD-ROMs and interactive-generative installations to videoclips and multimedia scenographies for dance and music, practical experience has shown that what may be seen as standard and complimentary elements of much contemporary interdisciplinary creation, in fact prove to offer a gamut of very different creative potentialities with each new project. This said, the question of interdisciplinary practice has also been occulted in recent years by artistic fervour and fascination surrounding digital productions that propose "new" sensorial experiences. While artists and critics alike are keen to assert how it is the technologies themselves that are responsible for "augmenting", "embodying" or "interfacing" sensorial experiences in art, the basic configuration of sound, image, and movement nevertheless remains a constitutive parameter of most productions, be they specifically digital, interactive, generative or not. Revisiting the nature of interdisciplinary creation today can be approached from various angles, for example, from the point of view of new spatial and temporal propositions or new hybridities in art. This paper chooses to look at interdisciplinarity from the perspective of intersensoriality, immersion and environment, taking as its principal reference Paroles trouvées, an installation I created in 2007 with French composer Dominique Besson and scenographer Olivier Koechlin. Conceived as a composite work involving three intertwined scores, musical, videochoreographical and optical, the interdisciplinary elements here combine in a novel way in the work's reception. Highlighting theoretical and practical issues of relevance and referring to a selection of immersive works in a brief historical overview, the paper also addresses questions of scoring, presence, interiority, texture, scale, intertextuality, and vibration.
Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
Projecting the Audiovisual Object
An appreciation of live performance commonly posits performers and their bodies as central to audience engagement. As expanded cinema practitioners extend film outside the frame and beyond passive linearity, so acousmatic composers have separated the work of the musician from the body and the sound from its source. The introduction of notebook computers to live performance rejuvenated this approach, yet the lack of physicality continues to spark debate around the notion of what constitutes "liveness". In the theories surrounding musique concrète, Pierre Schaeffer and his associates constructed a notion of the sound object as a malleable entity not specifically bound by musical or instrumental tradition, physicality, causality or meaning. Modern digital AV performers work towards a compositional integrity and performative presence by expanding this notion towards a unified projection of sound and image.
2015
My thesis project explores how cinematic space can be articulated within an acoustemological framework. Resituating cinema within a sonic – rather than a visual – ontology affords a capacity for privileging sensory and sensual forms of mediation that have been for the most part subsumed by the dominance of the image. Transmissions from the Technological Sublime is an audio-visual work comprising seven audio channels (comprising six regular speakers arranged in a hexagonal array and one subwoofer) as well as a durational, large-scale, 3D animated video projection employing an extra-wide aspect ratio of 16:3. This project draws upon an expanded notion of sound as a medium that is not only vibratory but also anamnetic, encompassing the immaterial as well as the tactile and manifesting itself as topological, temporal and subjective. It also approaches the idea of space as a site that embraces the cognitive and cultural, and that can thus be similarly apprehended as both imaginary and su...
Quand on reflète à l'âge moderne on pense souvent à l'idée de Heidegger contenu dans le syntagme Weltbild: «L'image du monde ne veut pas dire une image du monde, mais le monde saisi en tant qu'image». Cette vision est symptomatique à l'åge postmoderne, le temps par excellence du spectacle simulé (Baudrillard). Mais si on est fixé seulement sur les aspects visuels du phénomène, on risque de laisser passer sous silence les aspects auditifs. C'est justement à ce sujet que cet article se porte en particulier. En même temps, il veut opposer à l'image «psychotropique» de Baudrillard une vision différente, sortie de la création de l'un des artistes les plus acclamés de l'art contemporain, Bill Viola. Viola rend de manière puissante une vision du monde à la fois imagistique et phonique, mais surtout archétypale -une projection du monde dans sa manifestation primordiale.
Virtual Reality as an Artistic Space in the Context of Musical Art
The article highlights the modern view of musical art in the context of the development of information and communication technologies, which form the perception of art in the context of virtual interpretation. The relevance of the study is based on the prerequisites of the modern development of information and innovation society. There is a need for the perception of information in the context of virtual space in the context of the twentieth century. This trend changes approaches to human activities in different spheres of life, including artistic. This article shows the basic principles of virtual reality formation in the context of creating a space for the manifestation of musical art. The basic principles of perception of new artistic media in virtualization and digitalization are defined, and aspects of musical art reproduction are analyzed. This study shows the transformation of real life into virtual simple, which contributes to the spatio-temporal thinking of man and interprets the cultural achievements of human activity throughout the historical development. The article presents theoretical and methodological approaches to the analysis of musical art. The reflexion of the temporal phenomenon of cultural stratification and in-depth analysis of modern digital transformation in the context of virtual space formation is defined. Music discourse is analyzed in the context of cultural dynamics in the direction of the virtual world creation. The methods of analysis and synthesis, the research method and the method of discourse analysis were applied to study the virtualization of the musical environment. This study provided a basis for reflecting the effectiveness of the virtual environment for music art.
Music, Space and Theatre: Site-specific approaches to multichannel spatialisation
Organised Sound, 2010
"Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces."
Music, Space & Theatre: Site-specific approaches to multichannel spatialisation
Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces.