Performing space

Rebelo, Pedro

doi:10.1017/s1355771803000086

Cited by 3 publications

(2 citation statements)

References 3 publications

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“…The argument put forward here is that the image and identity of the participants are important ingredients in the interactive artwork. Regarding our third point, some similarities can be found in the Partial Space installation (Rebelo 2003: 184): ‘Partial Space is an interactive sound installation, presented and in ongoing development by the author since 1998. It consists of an environment in which inhabitants perform a resonant space.…”

Section: Audience/participants/contributorsmentioning

confidence: 89%

My Content/My Space/My Music

Kontogeorgakopoulos¹,

Kotsifa²

2013

Org. Sound

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Section: Audience/participants/contributorsmentioning

confidence: 89%

My Content/My Space/My Music

Kontogeorgakopoulos¹,

Kotsifa²

2013

Org. Sound

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“…It is a ‘category’ that can be situated in the lineage of Cage’s experimental practices that set ‘the stage for a heightened consideration of listening and “the place” of sound’, by which music became positioned ‘in relation to a broader set of questions to do with social experience and everyday life’ (LaBelle 2006: xii–xiii). Sonic narrative of space interweaves sites with sounds or sounds with sites, drawing out narratives from the sonic-spatial potential of sites, as heard, imagined and performed by a listener, something what Rebelo refers to as ‘performing space’ (Rebelo 2003), albeit in the context of interactive sound installations.…”

Section: Sonic Narrative Of Spacementioning

confidence: 99%

Museum City: Improvisation and the narratives of space

Schroeder¹

2016

Org. Sound

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This paper provides four viewpoints on the narratives of space, allowing us to think about possible relations between sites and sounds, reflecting on how places might tell stories, or how practitioners embed themselves in a place in order to shape cultural, social and/or political narratives through the use of sound. I propose four viewpoints that investigate the relationship between sites and sounds, where narratives are shaped and made through the exploration of specific sonic activities. These are:• -sonic narrative of spacesonic participatory action I examine each of these ideas, initially focusing in more detail on the first viewpoint, which provides the context for discussing and analysing a recent site-specific music improvisation project, entitled "Museum City", a work that aligns most closely with my proposal for a 'sonic narrative of space', while also bearing aspects of each of the other proposed viewpoints. The work "Museum City" by Pedro Rebelo, Franziska Schroeder, Ricardo Jacinto and André Cepeda specifically enables me to reflect on how derelict and/or transitional spaces might be reexamined through the use of sound, particularly by means of live music improvisation. The spaces examined as part of "Museum City" constitute either deserted sites or sites about to undergo changes in their architectural layout, their use and sonic make-up. The practice in "Museum City" was born out of a performative engagement with[in] those sites, but specifically out of an intimate listening relationship by three improvisers situated within those spaces.The theoretical grounding for this paper is situated within a wider context of practising and cognising musical spatiality, as proposed by Georgina Born (2013), particularly her proposition for three distinct lineages that provide an understanding of space in/and music. Born's third lineage, which links more closely with practices of sound art and challenges a Euclidean orientation of pitch and timbre space, makes way for a heightened consideration of listening and 'the place' of sound. This lineage is particularly crucial for my discussion, since it positions music in relation to social experiences and the everyday, which the work "Museum City" endeavoured to embrace.

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Engaging the audience in augmented reality performance

Wall

Riddell

2007

Proceedings of the 2nd International Conference on Digital Interactive Media in Entertainment and Arts

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If digital media performance continues to evolve through the convergence of diverse technologies, where does this leave the audience with respect to the creative experience? Is it important for the artist to understand how the audience understood the use of technology in their work? Should the artist care? This paper discusses the relationship between artist and audience through an examination of an Augmented Reality Performance Project Edible Audience 1 .

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Performing space

Cited by 3 publications

References 3 publications

My Content/My Space/My Music

My Content/My Space/My Music

Museum City: Improvisation and the narratives of space

Engaging the audience in augmented reality performance

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