Coalesce [coalesce_unpublished - 2024-11-01 09:33]
(2024)
author(s): Laura Adel
published in: Research Catalogue
Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.
Coalesce
(2024)
author(s): Laura Adel
published in: Research Catalogue
Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.
Arcade: A Guide to the Operas in the Doctoral Project "An Operatic Game Changer"
(2022)
author(s): Hedvig Jalhed
published in: Research Catalogue
This exposition is a guide to the four ludo-immersive chamber operas in the doctoral project An Operatic Game-Changer. The operas were created during the period 2016–2020 and are contextualized and discussed in the dissertation with the same title, in which the practice of facilitating operas as adventures rather than spectacles is fleshed out. Through these participatory and multi-disciplinary concepts, conceived with the purpose of generating and analyzing live encounters between professional opera artists and co-playing visitors, immersive features are realized and explored.
Arcade is also a kaleidoscopic performance and an exhibition, designed as an operatic amusement park in miniature, with artefacts and excerpts from the operas, and presented live in connection with the public defense of the thesis in 2022 at the Academy of Music and Drama in Gothenburg. This online resource functions as an archive of information about the operatic works and their performances, both for those attending the performance/exhibition in Gothenburg, and for those wanting to learn about the project without experiencing this event.
Sound and Immersion in Timekiller Games
(2015)
author(s): Anahid Kassabian
published in: Journal of Sonic Studies
In this article, I consider the role of sound in the immersive experience of “timekiller games.” “Timekiller games” as I define them here are a subset of casual games that are mainly played on smartphones and browsers, and while there are many subgenres, they share an ability not only to use up significant chunks of player time, but for the most part to “kill time” while waiting, winding down, procrastinating, and so on. I argue that the hyperreality of these games’ sounds, which imply physical reality much more vividly than the games’ visual designs, is one important component that helps to keep players immersed in the game world. Immersion in video games is overdetermined, and the choice of hyperreal sounds is one among a number of strategies that intersect and overlap to create an immersive experience particular to timekiller games. As the games get more challenging, requiring more and more focus, they shift roles in the attention economy, demanding more attention (as suggested by the idea of “challenge-based immersion” [Ermi and Mäyrä 2005]). This immersive experience is a kind of affective labor in which players produce affective value for the company and the industry and which is converted back and forth into “pay to win” in-app/in-game purchases. The games thus have a mixed economic form, in which their revenue streams come from a combination of initial purchases (though often these games are free to download), banner advertising at the bottom of the screen, and in-app purchasing to get past a particularly challenging level or obstacle. Thus: 1) playing timekiller games demands increasing levels of attention; 2) the games participate in the attention economy, despite appearing to be simple little timekillers; 3) the games produce affective value; 4) players and games participate in a mixed economic model of game purchase, advertising, and in–app purchases, converting affective value into material value and back again; and 5) the player is re-inserted into the attention economy to produce further affective value, thus continuing the circuit.
Composing for the Memory Dealer: New Paradigms for the Immersive Soundtrack
(2015)
author(s): Alex Kolassa
published in: Journal of Sonic Studies
The task of producing a score for new experiential types of media and transmedia presents a number of exciting possibilities for the composer. Indeed, the musical experience is a profoundly personal one; deeply held and ideologically informed expectations could risk limiting the role of music in exploratory new pervasive drama pieces to a pseudo-filmic Muzak. Just as the traditional modes of story-telling are rethought and exploded across a new and emergent diegetic plane, the role of music should likewise be radically rethought so as to rewrite its immersive potential.
Drawing upon my experience as composer for The Memory Dealer, this article will give critical insight into the collaborative process of both composing and realizing the soundtrack for new emergent, adaptive, and pervasive theatre works. It offers a discussion of my own creative processes and aesthetic concerns as well as an in-depth account of the technological and collaborative realities of this particular project.
(De)Composing Immersion
(last edited: 2023)
author(s): Miguelángel Clerc Parada
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This dissertation of Miguelángel Clerc Parada explores various perspectives on the term immersion, and its relation with, and transformation through, a composer’s practice. Immersion is presented as a key term to interconnect diverse aspects of musical practice and music listening with their various phenomenological and ontological implications. Immersion through music is proposed as a transitional experience that exposes and interrelates multiple layers of reality, questioning critically the tendency to think immersion as an experience within a particular or self-contained space (in music, in a book, in a virtual environment, in thoughts, in water, in a music hall, etc.). The compositions What about Woof? (for five percussionists and video installation), La línea desde el Centro (for twelve guitarists), Eufótica (for six percussionists and tape) and A Bao A Qu (for nine musicians and tape), analyzed and developed through the research trajectory, are the main artistic source to develop the ideas of each chapter of this investigation. The compositional processes described and the reflections about immersion derived from them offer diverse perspectives on the practical and phenomenological aspects of music composition, performance and listening.
Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.open exposition comments (0)