Realtime Audiovisual Performance Research Papers (original) (raw)

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- Music, Musicology, Computer Music, Algorithmic Composition
- by Giacomo Albert and +2
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- Musicology, Music Technology, Performance Art, Electroacoustic Music

This paper investigates the aesthetic potentials of analog and digital hybridized systems to generate genuinely new sonic and visual experiences. The authors discuss their use of the cathode ray tube as a technological and cultural... more

- by James Connolly and +1
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- Media Archaeology, Video Art, Glitch studies, Experimental Music

The Project entitled “Eye Tracking based Driver Fatigue Monitoring and Warning System”
consists of the hardware and the software modules. The main idea behind this project is to
develope a non-intrusive system which can detect fatigue of driver and issue a timely warning.
Since large number of road accidents are caused by driver drowsiness. Hence this system will
be helpful in preventing many accidents, and consequently save money and reduce personal
suffering.
This system will detect eye movement to detect the fatigue state of driver. By monitoring the
eyes using camera and developing an algorithm we can detect symptoms of driver fatigue early
enough to avoid an accident. So this project will be helpful in detecting driver fatigue in
advance and will gave a warning output in form of sound and vibration. For indication of
warning we will use two approaches i.e one by blowing alarm and second by seat belt vibration
whose frequency will vary between 100 to 300 Hzs. Moreover the warning will be deactivated
manually rather than automatically. So for this purpose a deactivation switch will be used to
deactivate warning.
Moreover if driver felt drowsy there is possibility of sudden acceleration or de-acceleration
hence we can judge this by plotting a graph in time domain and when all three input variables
shows a possibility of fatigue at one moment then a warning signal is shown in form of text or
red colour circle. This will directly give an indication of drowsiness/fatigue which can be
further used as record of driver performance or can be used by traffic police which can take
further action accordingly.

Since its inception, the piano recital has remained the principal—if not exclusive—model for
presenting solo piano repertoire. It is a format that, as this essay will examine, has evolved
throughout its history in response to artistic, social, and technological changes. Therefore, to
advocate for modifications in the piano recital is simply to continue the rich tradition of a format
that has not been rigid, but responsive to its environment. One way to suggest an alternative is by
rethinking the recital in an audiovisual way. Correspondences between acoustical and visual
elements abound, both in theory and materialized in instruments to “perform” colors.
Furthermore, the development of abstract animation allowed fundamental aspects of music to be
effectively visualized: time, gesture, and form, to name a few. The moving image solidified the
relationship between both modes and began our current multimedia era. Many genres of music
have demonstrated the value of a visual component as a complement to a performance,
something which has been increasingly capturing the attention of classical musicians. By
analyzing the aesthetic implications of a multimedia recital and evaluating projects that explore
the addition of a visual element, we can suggest an alternative format that preserves the
traditional piano repertoire and re-contextualizes it in a way that might better resonate with
modern audiences.

In an attempt to produce critical associations between the fields of cinema, expanded cinema, contemporary art and digital live visuals, this paper investigates characteristics of VJing projection in the work of practitioners who do not engage primarily with this technique. The analysed pieces are the film Chelsea Girls (USA, 1966), by Andy Warhol; the installation series Cosmococas (Brazil, 1973), by Hélio Oiticia and Neville D’Almeida; and the multimedia project The Tulse Luper Suitcases (2003-), by Peter Greenaway. Each of them reorganizes the elements conventionally involved in the exhibition of moving images by either opening them up to contingencies or incorporating the apparatus in particular strategies of meaning and value, therefore challenging the established viewing regimes. With these analyses, I mean to emphasize the role of spatial organization in the experience of time and in the definition of the parameters for the performance of media technology, regardless of the institutional conventions that restrict each field of visual creation. By doing so, I hope to set more rigorous underpinnings to speculate over their future developments and interactions.

- by Kyle E Evans
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- Media Archaeology, Video Art, Glitch studies, Experimental Music

This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, the value of these insights for the composition and practice-based analysis of multimedia art forms is demonstrated.

Neste trabalho, analiso os espaço da performance audiovisual que se relacionam a uma montagem sonora em tempo real e a uma montagem visual em tempo diferido, onde a imagem funciona como uma partitura gráfica para a construção sonora do filme. Nosso objeto de estudo é o filme Medo do Escuro (Ivo Lopes Araújo, 2014) no qual sua montagem sonora é realizada em tempo real. Tenho como embasamento teórico Makela (2006), Chion (2012) e Flôres (2013).

- by Marina Mapurunga
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- Live Cinema, Sound Design, Sound Editing, Realtime Audiovisual Performance
- by Navid Navab
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- New Media, Design, Dynamical Systems, Wearable Computing

Realtime audiovisual performance is a art-moment defined as a unique narrative. By establishing a theoretical structure, grounded on a permanent process of becoming, the subject of documentation will come to the surface. The text aims at presenting references and considerations for the study of documentation of the ephemeral project towards the collective construction of practice’s memory.

- by Ana Carvalho
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- Cultural Studies, Perception, Ethnography, Performance Studies