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Watkins, Clinton Charlton, James Woods, Colin 2018-02-13T00:25:01Z 2018-02-13T00:25:01Z 2018 2018 2018-02-12T21:10:35Z https://hdl.handle.net/10292/11239 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. en Auckland University of Technology Sonic art Art Sound Creative technology Participatory art Interactive art Composer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You' Exegesis OpenAccess Auckland University of Technology Masters Theses Master of Creative Technologies No No open.access