140 research outputs found
Experiential Perspectives on Sound and Music for Virtual Reality Technologies
This thesis examines the intersection of sound, music, and virtuality within current and next-generation virtual reality technologies, with a specific focus on exploring the experiential perspectives of users and participants within virtual experiences. The first half of the thesis constructs a new theoretical model for examining intersections of sound and virtual experience. In Chapter 1, a new framework for virtual experience is constructed consisting of three key elements: virtual hardware (e.g., displays, speakers); virtual software (e.g., rules and systems of interaction); and virtual externalities (i.e., physical spaces used for engaging in virtual experiences). Through using and applying this new model, methodical examinations of complex virtual experiences are possible. Chapter 2 examines the second axis of the thesis through constructing an understanding of how sound is designed, implemented, and received within virtual reality. The concept of soundscapes is explored in the context of experiential perspectives, serving as a useful approach for describing received auditory phenomena. Auditory environments are proposed as a new model for exploring how auditory phenomena can be broadcast to audiences. Chapter 3 explores how inauthenticity within sound can impact users in virtual experience and uses authenticity to critically examine challenges surrounding sound in virtual reality. Constructions of authenticity in music performance are used to illustrate how authenticity is constructed within virtual experience. Chapter 4 integrates music into the understanding of auditory phenomena constructed throughout the thesis: music is rarely part of the created world in a virtual experience. Rather, it is typically something which only the audience â as external observers of the created world â can hear. Therefore, music within immersive virtual reality may be challenging as the audience is placed within the created world.The second half of this thesis uses this theoretical model to consider contemporary and future approaches to virtual experiences. Chapter 5 constructs a series of case studies to demonstrate the use of the framework as a trans-medial and intra/inter-contextual tool of analysis. Through use of the framework, varying approaches to implementation of sound and music in virtual reality technologies are considered, which reveals trans-medial commonalities of immersion and engagement with virtual experiences through sound. Chapter 6 examines near-future technologies, including brain-computer interfaces and other full-immersion technologies, to identify key issues in the design and implementation of future virtual experiences and suggest how interdisciplinary collaboration may help to develop solutions to these issues. Chapter 7 considers how the proposed model for virtuality might allow for methodical examination of similar issues within other fields, such as acoustics and architecture, and examines the ethical considerations that may become relevant as virtual technology develops within the 21st Century.This research explores and rationalises theoretical models of virtuality and sound. This permits designers and developers to improve the implementation of sound and music in virtual experiences for the purpose of improving user outcomes.<br/
Novel Applications Of Music And Digital Media In Global Health Intervention And Education Initiatives During The Covid-19 Pandemic: A Case Study Of Bts And Army
The Korean musical group BTS (full name Bangtan Seoyeondan/ë°©íìë
ëš) is one of the worldâs most commercially and artistically successful entertainment acts. BTS is primarily known for their domination of both Western and Korean musical markets, impressive digital media presence, major role in supporting the South Korean economy, and highly mobilized 400,000 member fandom known as ARMY. BTS and their parent company HYBEâs artistic creation and marketing model has long focused on creating âMusic and Artists for Healing,â or using music and various forms of primarily digital content to connect with and improve health outcomes for fans. In response, ARMY have developed significant grassroots public health organizing to improve health of other fans and general populations. Both BTS and ARMYâs intervention work regularly reaches global audiences of millions through primarily digital media delivery mechanisms.This interdisciplinary, mixed methods study uses qualitative analysis of BTSâ digital content (n = 478) and an introductory exploration of ARMY public health organizations to demonstrate that BTSâ music, HYBEâs digital content production and dissemination strategies, and ARMYâs community grassroots organizing produced one of the largest-reaching public health interventions in response to the early COVID-19 pandemic (March 2020- December 2021). Major intervention strategies included mitigating negative mental health outcomes, distributing health information, modeling safe behaviors, and engaging in both mutual aid and anti-racist health equity work. This exploratory research illuminates new directions in effective, novel public health intervention and education practices and posits that critical, nuanced study of BTS and ARMYâs impact on public health may hold important keys to re-imagining digitally delivered health interventions and their subsequent economic profitability
Computer-Assisted Interactive Documentary and Performance Arts in Illimitable Space
This major component of the research described in this thesis is 3D computer
graphics, specifically the realistic physics-based softbody simulation and
haptic responsive environments. Minor components include advanced
human-computer interaction environments, non-linear documentary storytelling,
and theatre performance. The journey of this research has been unusual because
it requires a researcher with solid knowledge and background in multiple
disciplines; who also has to be creative and sensitive in order to combine the
possible areas into a new research direction. [...] It focuses on the advanced
computer graphics and emerges from experimental cinematic works and theatrical
artistic practices. Some development content and installations are completed to
prove and evaluate the described concepts and to be convincing. [...] To
summarize, the resulting work involves not only artistic creativity, but
solving or combining technological hurdles in motion tracking, pattern
recognition, force feedback control, etc., with the available documentary
footage on film, video, or images, and text via a variety of devices [....] and
programming, and installing all the needed interfaces such that it all works in
real-time. Thus, the contribution to the knowledge advancement is in solving
these interfacing problems and the real-time aspects of the interaction that
have uses in film industry, fashion industry, new age interactive theatre,
computer games, and web-based technologies and services for entertainment and
education. It also includes building up on this experience to integrate Kinect-
and haptic-based interaction, artistic scenery rendering, and other forms of
control. This research work connects all the research disciplines, seemingly
disjoint fields of research, such as computer graphics, documentary film,
interactive media, and theatre performance together.Comment: PhD thesis copy; 272 pages, 83 figures, 6 algorithm
Carrying others: A feminist materialist approach to research-creation
Everyone is connected and operates with or alongside a maternal structure. As psychologist Bracha L. Ettinger states, we all hold within us an imprint or memory of being carriedâââcarried across landscapes, across time, into destinations unknown (Ettinger, 2006). This doctoral dissertation takes up these poetics through an interdisciplinary investigation of Feminist Materialist Research-Creation practices and strategies. Referencing recent traditions of Art Intervention, Performance Art, Land Art, and the canon of feminist art history, this research mirrors, connects with, and critiques digital imaginaries and considers how the maternal body responds to the agency of things in the world. This research makes a unique contribution to the humanities, feminist scholarship, and Research-Creation practices by exploring strategies and subjectivities, new positions of theorization, and analyses that unsettle contemporary approaches to artistic research. This includes a series of theoretical texts, experimental framing, and a portfolio of eight artworks that were individually and collaboratively created and produced between 2016â2019: Traces of Motherhood; Domestic Cupboards; Magical Beast: The Space Within, Out and In-Between, Hunting Self; Mothering Bacteria: The Body as an Interface; Floating in the In-Between; Carrying Others; and Nostalgic Geography: Mama and Papa have Trains, Orchards and Mountains in their Backyard. Showcased with the artwork are digital and technological ephemera, including curatorial conversations, exhibition and submission text, process documentation, links, posters, and other preparatory information. This document also introduces a series of interludes and refections that construct and demonstrate alternative ways of approaching the central ideas, themes, and methodological and theoretical ideas explored in the thesis. Cumulatively, these creative articulations foreground the complexities, process, and nuances of Feminist Materialist approaches to Research-Creation. This document also presents the three main themes which include: 1) Materiality; 2) the Optical Unconscious; and 3) the Technological Unconscious; and, take up the three salient concepts and theories: 1) Carriance; 2) Feminist Materialism; and, 3) Research-Creation. In particular, I argue that Carriance aligns with ideas of care, co-production and becomes a creative way of thinking about connection. Each of the eight artworks demonstrate aspects of Carriance, collaboration, and connection and present emergent ways to consider creative methods, methodologies, and expanded feminist expressions. By discussing a variety of projects and creative forms, this dissertation is a speculative art-making investigation that foregrounds human and non-human relationships, ecofeminist perspectives, and mothering, opening up the term Carriance in a variety of ways to show how it can be more than one method, form, or approach with much potential to challenge, encourage and elicit embodied ways of knowing
Artech 2008: proceedings of the 4th International Conference on Digital Arts
ARTECH 2008 is the fourth international conference held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art. ARTECH brings the scientific, technological and artistic community together, promoting the interest in the digital culture and its intersection with art and technology as an important research field, a common space for discussion, an exchange of experiences, a forum for emerging digital artists and a way of understanding and appreciating new forms of cultural expression. Hosted by the Portuguese Catholic Universityâs School of Arts (UCP-EA) at the City of Porto, ARTCH 2008 falls in alignment with the main commitment of the Research Center for Science and Technology of the Arts (CITAR) to promote knowledge in the field of the Arts trough research and development within UCP-AE and together with the local and international community. The main areas proposed for the conference were related with sound, image, video, music, multimedia and other new media related topics, in the context of emerging practice of artistic creation. Although non exclusive, the main topics of the conference are usually: Art and Science; Audio-Visual and Multimedia Design; Creativity Theory; Electronic Music; Generative and Algorithmic Art; Interactive Systems for Artistic Applications; Media Art history; Mobile Multimedia; Net Art and Digital Culture; New Experiences with New Media and New Applications; Tangible and Gesture Interfaces; Technology in Art Education; Virtual Reality and Augmented Reality. The contribution from the international community was extremely gratifying, resulting in the submission of 79 original works (Long Papers, Short Papers and installation proposals) from 22 Countries. Our Scientific Committee reviewed these submissions thoroughly resulting in a 73% acceptance ratio of a diverse and promising body of work presented in this book of proceedings. This compilation of articles provides an overview of the state of the art as well as a glimpse of new tendencies in the field of Digital Arts, with special emphasis in the topics: Sound and Music Computing; Technology Mediated Dance; Collaborative Art Performance; Digital Narratives; Media Art and Creativity Theory; Interactive Art; Audiovisual and Multimedia Design.info:eu-repo/semantics/publishedVersio
KHM 2006
Die KHM, die Kunsthochschule fĂŒr Medien Köln, ist beinahe zwei Jahrzehnte alt. FĂŒr Akademien und UniversitĂ€ten kein Alter, fĂŒr eine Kunsthochschule fĂŒr Medien eine lange Zeit â denn die Medien haben in diesem Zeitraum ihre Entwicklungsschritte rasant unternommen. Heute muss sich die KHM mit HD-Television, mit der Frage von bio-digitalen Lebensbedingungen beschĂ€ftigen, sie muss ihren Blick sowohl auf einen Kunstmarkt richten, der die Kunst immer ausschlieĂlicher als Kapitalanlage begreift, sowie sich auf Medien konzentrieren, deren traditionelle Anstalten (wie beispielsweise der öffentlich-rechtliche Rundfunk) vor gravierenden VerĂ€nderungen stehen. Die digitalen Medien und ihr Einsatz in den KĂŒnsten, im Film, beim Video, in der postproduktionellen Bearbeitung, im Alltag (Kommunikation, Ăkonomie und Politik) sind umfassend geworden und haben dadurch ihren Sonderstatus eingebĂŒĂt, der Zugriff auf den Computer ist Routine geworden.
FĂŒr eine Kunsthochschule, deren SelbstverstĂ€ndnis auf den Medien (im Kunst- und Kulturkontext) beruht, sind diese Entwicklungen eine stĂ€ndige und groĂe Herausforderung. [...]The KHM, Kunsthochschule fĂŒr Medien Köln â Academy of Media Arts Cologne, is almost twenty years old. For academies and universities in general, this is not very old at all, but for an academy of media arts it is a long
time, for within this time span media have developed at an amazing pace. Today the KHM engages with HD television, and with bio-digital conditions of life. It confronts an art market that increasingly, almost exclusively even, views art as a capital investment, and focuses on media whose traditional institutions (for instance, public broadcasting) are on the brink of thoroughgoing changes. Digital media and their applications in the arts, film, video, post-production, and in everyday life communications, economics, and politics) have become all-pervasive and have lost their special status: access to computers is now routine.
For an academy whose self-concept resides in the media (in the context of art and culture) these developments are a great and ongoing challenge. [...
Cetacean citations : rhythmic variability in the composition and recomposition of humpback whale song
In this interdisciplinary thesis I attend to the rhythmic variability of the phrases whose repetition is such a distinctive feature of humpback whale song, listening and responding as bioacoustician, musician, and zoömusicologist. I developed methods to visualize and measure individual distinctiveness and rhythmic precision in shared song phrases, and assessed thirteen hours of humpback song from ten singers, collected off Moâorea, French Polynesia, September-November 2019. Using multiple regression and multivariate distance techniques, I found that individual singers sing shared phrases with their own individually distinctive rhythms but with equal levels of rhythmic precision, across a wide range of phrase variants. As a musician I recomposed with transcriptions and recordings of humpback song phrases, the âcetacean citationsâ of my title, producing a portfolio of six works in collaboration with other musicians. In a reflective zoömusicological analysis of my compositional processes, I examined how composers might avoid both an âanthropodenialâ that fails to recognize the similarities between humans and other animals, and a ânaĂŻve anthropomorphismâ that fails to recognize the differences. Further, I challenged the presumption that there are no ethical questions involved in the musical use of other-than-human audio recordings via an analysis of their inevitable âobjectificationâ in contemporary composition. Drawing on Adornoâs critique of instrumental rationality and Plumwoodâs critique of anthropocentrism, I elaborated the concept of an aesthetic rationality that treats other-than-human sounds with respect, through a set of strategies for composers to produce a non-anthropocentric multispecies music that neither enacts nor embodies human exceptionalism. Finally, I proposed the notion of âmultispecies heterophonyâ to describe the overlapping nonhierarchical sounding of difference. This compositional form was jointly inspired by the âasynchronous chorusâ of the collective singing of humpback whales, and the human dynamics of large group improvisation; I suggest that it offers a promising musical model for ecological thinking
Soundscapes of the Urban Past: Staged Sound as Mediated Cultural Heritage
We cannot simply listen to our urban past. Yet we encounter a rich cultural heritage of city sounds presented in text, radio and film. How can such "staged sounds" express the changing identities of cities? This volume presents a collection of studies on the staging of Amsterdam, Berlin and London soundscapes in historical documents, radio plays and films, and offers insights into themes such as film sound theory and museum audio guides. In doing so, this book puts contemporary controversies on urban sound in historical perspective, and contextualises iconic presentations of cities. It addresses academics, students, and museum workers alike
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