TY - GEN
T1 - Considerations on sound art documentation
T2 - 45th International Computer Music Conference, ICMC 2019 and International Computer Music Conference New York City Electroacoustic Music Festival, NYCEMF 2019
AU - Vasquez, Juan Carlos
N1 - Publisher Copyright:
© 2018 Juan Carlos Vasquez et al. This is an open-access article distributed under the terms of the Creative_Commons_Attribution License_3.0_Unported, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
PY - 2019/9/1
Y1 - 2019/9/1
N2 - Video documentation of sound art pieces has been largely used as a way to promote/preserve a work of art displayed in a specific moment and place. In most cases it attempts to show different aspects of the piece, such as the audience engaging with a particular work. However, it is often overlooked that the interaction documented in this context is not merely limited to the physical contact between a member of the audience and a piece. Interaction also entails the influence of diverse social affordances and distinct”vital forces” involved in the human-nonhuman aesthetic interplay. This paper examines those elements and reflects on how video documentation of a sound art piece presents a curated version of these forces in communion, going beyond the mere purpose of preserving the work. With this in mind, an artist can consciously select the degree of dialogue between human and non-human actors displayed in the video, engaging them in an artistic decision: creating an extension of the piece.
AB - Video documentation of sound art pieces has been largely used as a way to promote/preserve a work of art displayed in a specific moment and place. In most cases it attempts to show different aspects of the piece, such as the audience engaging with a particular work. However, it is often overlooked that the interaction documented in this context is not merely limited to the physical contact between a member of the audience and a piece. Interaction also entails the influence of diverse social affordances and distinct”vital forces” involved in the human-nonhuman aesthetic interplay. This paper examines those elements and reflects on how video documentation of a sound art piece presents a curated version of these forces in communion, going beyond the mere purpose of preserving the work. With this in mind, an artist can consciously select the degree of dialogue between human and non-human actors displayed in the video, engaging them in an artistic decision: creating an extension of the piece.
UR - http://www.scopus.com/inward/record.url?scp=85107030093&partnerID=8YFLogxK
M3 - Conference Proceeding
AN - SCOPUS:85107030093
T3 - Proceedings of the 2019 International Computer Music Conference, ICMC-NYCEMF 2019 - International Computer Music Conference New York City Electroacoustic Music Festival
SP - 323
EP - 326
BT - Proceedings of the 2019 International Computer Music Conference, ICMC-NYCEMF 2019 - International Computer Music Conference New York City Electroacoustic Music Festival
PB - International Computer Music Association
Y2 - 16 June 2019 through 23 June 2019
ER -