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Composer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You'

Files

Exegesis(555.66 KB)

Date

2018

Authors

Supervisor

Watkins, Clinton
Charlton, James

Item type

Exegesis

Degree name

Master of Creative Technologies

Journal Title

Journal ISSN

Volume Title

Publisher

Auckland University of Technology

Abstract

In 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.

Description

Keywords

Sonic art, Art, Sound, Creative technology, Participatory art, Interactive art

Source

DOI

Publisher's version

Rights statement

Permanent link

https://hdl.handle.net/10292/11239

Collections

Masters Theses