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dc.contributor.advisorWatkins, Clinton
dc.contributor.advisorCharlton, James
dc.contributor.authorWoods, Colin
dc.date.accessioned2018-02-13T00:25:01Z
dc.date.available2018-02-13T00:25:01Z
dc.date.copyright2018
dc.identifier.urihttp://hdl.handle.net/10292/11239
dc.description.abstractIn her introduction to Artificial Hells, Claire Bishop defines participation in art as that, “… in which people constitute the central artistic medium and material, in the manner of theatre and performance”. It is interesting then to consider whether artworks are things in and of themselves, or if they only actually exist as art in terms of the relationships they have with their audience; perhaps only in terms of the roles performed by the audience as they enter into discourse with the presented situations. The set of work presented here seeks to research these notions along with the idea of where things sit on the spectrum of “closed” or “open” works as suggested by Umberto Eco, and the idea of art as inherent autobiographical trace.en_NZ
dc.language.isoenen_NZ
dc.publisherAuckland University of Technology
dc.subjectSonic arten_NZ
dc.subjectArten_NZ
dc.subjectSounden_NZ
dc.subjectCreative technologyen_NZ
dc.subjectParticipatory arten_NZ
dc.subjectInteractive arten_NZ
dc.titleComposer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You'en_NZ
dc.typeExegesisen_NZ
thesis.degree.grantorAuckland University of Technology
thesis.degree.levelMasters Theses
thesis.degree.nameMaster of Creative Technologiesen_NZ
dc.rights.accessrightsOpenAccess
dc.date.updated2018-02-12T21:10:35Z


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