Davismoon, SM 2014, 'Immersive, interactive, real and imagined sonic environments' , Intelligent Technologies for Interactive Entertainment, 136 , pp. 113-117.
![]() |
PDF
- Accepted Version
Restricted to Repository staff only Download (116kB) |
Abstract
Perhaps the most significant contributions that computer and digital technologies have brought to our experience of music and sound art are to be found in the transformative effect that it has had upon auditory space and performative practice. Of course, there is nothing new in the importance of complex listening spaces for the muse to unfold, our history provides many examples - from Stonehenge in England, to St. Mark’s in Venice Italy. However, now, the listener can experience and traverse an endlessly complex transformation in real-time of any number of virtual listening spaces. This has had the consequence of increased focus and importance in recent years being placed upon sonic spatial and immersive diffusion considerations in the compositional act. Bringing further dimensionality - if you will - to the idea spoken so eloquently by Luigi Nono during the period of his work at the Experimentalstudio in the 1980s of a ‘dramaturgy of sound.’
Item Type: | Article |
---|---|
Themes: | Media, Digital Technology and the Creative Economy |
Schools: | Schools > School of Arts & Media > Arts, Media and Communication Research Centre |
Journal or Publication Title: | Intelligent Technologies for Interactive Entertainment |
Publisher: | Springer International Publishing |
Refereed: | Yes |
ISSN: | 1867-822X |
Related URLs: | |
Funders: | Columbia College Chicago |
Depositing User: | Professor Stephen Davismoon |
Date Deposited: | 21 May 2015 13:31 |
Last Modified: | 11 Jun 2019 09:15 |
URI: | http://usir.salford.ac.uk/id/eprint/34625 |
Actions (login required)
![]() |
Edit record (repository staff only) |