Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-06T02:19:58.219Z Has data issue: false hasContentIssue false
  • English
  • Français

My Content/My Space/My Music

Published online by Cambridge University Press:  26 March 2013

Alexandros Kontogeorgakopoulos  and
Olivia Kotsifa
Alexandros Kontogeorgakopoulos
Affiliation:
School of Art & Design, Cardiff Metropolitan University, Llandaff Campus, Western Avenue, Cardiff, CF5 2YB, UK E-mail: [email protected]
Olivia Kotsifa
Affiliation:
School of Art & Design, Cardiff Metropolitan University, Howard Gardens Campus, Howard Gardens, Cardiff, CF24 0SP, UK E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

This paper presents an interactive sound design and interactive composition aesthetic. Three projects are presented as case studies and underline the importance of audience involvement: From snow [to space to movement] to sound (2011), Melodic walk (2012) and Points… (2012). All three projects have been designed, implemented and put in practice, and outline the aesthetic vision and approach of the authors. In the examples above, elements of interactive performance, sound installation and architectural design are blended together in order to deliver a sonic result, where the audience plays a central role. The members of the audience interact directly with the artworks, and as a result become part of the installation. Moreover, by bringing their own content into the interactive scenario, they also become contributors. The architectural space is an important parameter, as the spatial design is key to audience interaction with the music. Technical and aesthetic aspects are presented alongside the experiences of the audience/participants/contributors.

Type
Articles
Information
Organised Sound , Volume 18 , Special Issue 1: Audiences and Participants , April 2013 , pp. 22 - 29
Copyright
Copyright © Cambridge University Press 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bongers, B. 2000. Physical Interfaces in the Electronic Arts: Interaction Theory and Interfacing Techniques for Real-Time Performance. In M.M. Wanderley and M. Battier (eds)Trends in Gestural Control of Music. Paris: IRCAM–Centre Pompidou.Google Scholar
Bullivant, L. 2006. Responsive Environmnets, Architecture, Art and Design. London: V&A.Google Scholar
Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall.Google Scholar
Chadabe, J. 2000. Remarks on Computer Music Culture. Computer Music Journal 24(4): 9–11.Google Scholar
Dixon, S. 2007. Digital Performance. Cambridge, MA: The MIT Press.Google Scholar
Drummond, J. 2009. Understanding Interactive Systems. Organised Sound 14(2): 124–133.Google Scholar
Fells, N. 2002. On Space, Listening and Interaction: Words on the Streets are These and Still Life. Organised Sound 7(3): 287–294.Google Scholar
Fox, M., Kemp, M. 2009. Interactive Architecture. Princeton, NJ: Princeton Architectural Press.Google Scholar
Freyer, C., Noel, S., Rucki, E. (Troika). 2008. Digital by Design: Crafting Technology for Products and Environments. London: Thames & Hudson.Google Scholar
Fung, L., Debany, J. 2005. The Snow Show. London: Thames & Hudson.Google Scholar
Garnett, G. 2001. The Aesthetics of Interactive Computer Music. Computer Music Journal 25(1): 21–33.Google Scholar
Hahn, T., Bahn, C. 2002. Pikapika: The Collaborative Composition of an Interactive Sonic Character. Organised Sound 7(3): 229–238.CrossRefGoogle Scholar
H05 Park. 2012. www.ho5park.com/fr/galerie/videos.Google Scholar
Karandinou, A., Achtipi, C., Giamarelos, S. 2009. Athens by Sound. Venice and Athens: Futura and the Greek Ministry of Culture.Google Scholar
Kontogeorgakopoulos, A., Kotsifa, O., Erichsen, M. 2011. From Snow to Sound to Space to Music. Proceedings of the 2011 Sound and Music Computing Conference, Padova.Google Scholar
Krueger, M. W. 2004. Toward Interactive Aesthetics. Ars Electronica Katalog.Google Scholar
Lefebvre, H. 1992. The Production of Space. Trans. D. Nicholson-Smith. Oxford: Blackwell Publishers.Google Scholar
Levin, G. 2006. Computer Vision for Artists and Designers: Pedagogic Tools and Techniques for Novice Programmers. Journal of Artificial Intelligence and Society 20(4): 462–482.Google Scholar
Mehta, R. 2011. Imaginational Map 2(R1, R3, R5). Leonardo Music Journal 21: 84–85.Google Scholar
Morse, M. 2003. The Poetics of Interactivity. In J. Malloy (ed.) Women, Art and Technology. Cambridge, MA: The MIT Press.Google Scholar
MotionComposer. 2012: www.motioncomposer.org/workshop.Google Scholar
Noble, J. 2009. Programming Interactivity. Sebastopol, CA: O'Reilly.Google Scholar
O'Sullivan, D., Igoe, T. 2004. Physical Computing: Sensing and Controlling the Physical World with Computers, Course Technology. Boston, MA: Thomson.Google Scholar
Pirate Movie Production. 2012. www.pirate-movie-production.com/movies.Google Scholar
Rebelo, P. 2003. Performing Space. Organised Sound 8(2): 181–186.Google Scholar
Reich, S. 2002. Writings on Music 1965–2000. Oxford: Oxford University Press.Google Scholar
Rowe, R. 1993. Interactive Music Systems: Machine Listening and Composing. Cambridge, MA: The MIT Press.Google Scholar
Schacher, J. 2010. Motion to Gesture to Sound: Mapping for Interactive Dance. Proceedings of the International Conference on New Instruments for Musical Expression (NIME2010), Sydney, 250–4.Google Scholar
Trier, L. V. 2003. Dogville. Icon Home Entertainment.Google Scholar
Wechsler, R., Weiss, F., Dowling, P. 2004. Eyecon: A Motion Sensing Tool for Creating Interactive Dance, Music and Video Projections. Proceedings of the Society of Study of Artificial Intelligence and the Simulation of Behavior. Leeds: SSAISB.Google Scholar
Winkler, T. 1997. Creating Interactive Dance With the Very Nervous System. Proceedings of the 1997 International Computer Music Conference, Thessaloniki.Google Scholar
Winkler, T. 1998. Composing Interactive Music: Techniques and Ideas Using Max. Cambridge, MA: The MIT Press.Google Scholar