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The voice-index is discussed as a conceptual model for creating a live digital voice. Vocal feature extraction employs the voice as a live electronic interface, referenced in the author’s performative work.
In the opera Sing the Body Electric! A Corporatorio , artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument....
With the ascendance of the field of new interfaces for musical expression, a new phase of sound diffusion has emerged. Rapid development is taking place across the field, with a focus on gestural interaction and the development of custom performance interfaces. This article discusses how...
The authors discuss their interdisciplinary research, which investigates the use of affective computing technologies in the context of music, audiovisual artworks and video games. One current project involves the expansion of mobile sound walk apps through incorporating environmental and...
The author presents a concept of ritualized performance as an ideal way to approach the telematic medium, arguing that many longstanding performance rituals share characteristics that can be exploited in networked performance. The author situates these ideas in relation to his project Spatia ,...
Since 2011, the term “album app” has been used more frequently by journalists in the music and technology fields. It refers to a new album format that at first seemed an invitation to improvisation; one could re-create a musical piece while listening to it. The result is that the roles of...
This article examines the history of sonification in sound art, focusing on the role that data play in influencing artistic creation and aesthetic experience. The author discusses sonified data artworks that go beyond the simple representation of information and that offer critiques of what...
The artist describes Electric Music (for Helen Keller) , a performance of music for deaf audiences that uses four electrode pads of a Transcutaneous Electrical Nerve Stimulation unit to perform music directly on the body of the listener.
The author provides a brief description of a series of works using “moving instruments,” focusing on the autonomous mobility of the instrument detached from the performer.
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