8.6 Sound
Tracks
Track 6
Wednesday, June 26, 2024 |
1:30 PM - 3:00 PM |
Plaza P10 |
Speaker
Dr Gail Priest
Independent Artist
FP: In_Listening_In: An Exploration of Ambisonic Audiography as an Alternative Approach within Sound Studies
1:30 PM - 1:55 PMAbstract
This paper offers the ambisonic audiographic form as a viable alternative approach to theorizing within sound studies. The approach is exemplified in the essay-artwork In_Listening_In that allows the listener to be fully immersed in semiotic and sensorial sound. Traditional modes of theorizing emphasize critical distance and objectivity. However, considering sound and listening phenomenologically, sound/object and listening/subject are interdependent, each bringing the other to meaning in a correlation I call sonaurality. The visual paradigm of observational separation is thus ill-equipped to theorize sonaurality. I propose that the writer can consider the experience of sounding from within, acknowledging context, sitedness and partiality as per Haraway (1988). I call this a tomographic approach, borrowing the term from the medical procedure that explores within a body via multiple X-ray slices. In_Listening_In enacts the tomographic authorial position in its textual material and style additionally repositioning the reader as listener through what Smith calls “critical audiography” (2019). The audiographic form is extended via the ambisonic audio potentials of 360VR technology, fully immersing the listener and sensorially reinforcing the arguments. While the essay-artwork can stand on its own academically, this paper argues for the ambisonic audio-graphic form as both a methodology and format that is a valuable approach within sound studies.
Biography
Dr Gail Priest is artist, writer and curator. He interest is in the aural realm both materially and conceptually focusing on creating contexts and experiences that reorganise our perceptions and draw our attention to the role of listening in generating heightened states of conscious understanding. She has performed and exhibited her work nationally and internationally including exhibition in Germany, Hong Kong, Tokyo, Sydney and Melbourne. Her work has manifestations as installation, performance, digital and physical music releases and publication. She was awarded a PhD from the University of Technology Sydney in 2023 where she is also an occasional lecture. She is currently on the editorial board of Sound Stage Screen (University of Milan) and has contributed a chapter on Mediated Sound to the up-coming Encyclopedia of Media Art Vol 2: Artists and Practice (Bloomsbury 2024). www.gailpriest.net
Ms Leah Gustafson
PhD candidate
University of the Sunshine Coast
AT: Visualising Soundscapes: Enhancing Audience Engagement with Ecoacoustics
1:55 PM - 2:20 PMAbstract
Soundscapes and the sounds that compose them are many and varied, and deserve our attention. Ecoacoustics is the rapidly advancing scientific discipline of recording and monitoring the sounds in our environment and can be used as an indication of the health of our environment. Generating interest among the general public can be chal-lenging, and this paper introduces research into creative ecoacoustic visualisation. It aims to increase public awareness of ecoacoustics and its use in broader conser-vation initiatives by using evidence-based, iterative methods to design ecoacoustic visualisation experiences that enhance audience engagement with sound, space and place.
Biography
Leah Gustafson has a background in multimedia development including working in a range of roles and teaching for over ten years. She has studied environmental science as well as having a Masters degree in animation. She is current a PhD candidate and her work combines two fields of knowledge: science and the digital creative arts. Leah has a particular interest in raising the awareness of conservation topics in novel ways that promote audience engagement and immersion.
Dr Fabrizio Augusto Poltronieri
University of Nottingham
SP: Towards Sentience: A path through Jazz, Datasets and Digital Scores
2:20 PM - 2:35 PMAbstract
This short paper is a provocation in which we lean into the notion of sentience in Creative-AI music. The purpose of this is to highlight that a critical component when using bucket terms such as “creativity”, “intelligence” or “sentience” in the design and deployment of artificial intelligence must be its context. The focus of this paper is a practice-based project called Solaris, a jazz quartet where three musicians are AI. Within its context we can claim that we achieved high levels of sentience. The paper starts with a brief discussion of the concept of sentience, positions our point of view and how we approach the concept, and then describes the artistic and technical processes used to build a novel dataset and to train our neural networks. We conclude with an account of the experience of playing alongside sentient artificial musicians and reaffirm the importance of context for the planning, design and utilisation of Creative-AI.
Biography
Fabrizio Poltronieri is a computer artist, mathematician, researcher, and programmer, renowned for his contributions to the field of creative computing. He has been recognized with numerous prestigious awards and accolades for his creative endeavors involving computers. Two of his AI artworks, "Dionysus" and "Calliope", have found their place in the esteemed collection of the Victoria and Albert Museum (V&A) in London, UK. In addition to his artistic pursuits, Fabrizio Poltronieri currently dedicates his efforts to pioneering research in harnessing the collaborative and creative potential of AI across various domains, including music, education, healthcare, and visual arts. His innovative explorations aim to unlock novel ways of integrating AI into these fields, fostering groundbreaking advancements and pushing the boundaries of creative expression. He is also the co-editor of the books The Language of Creative AI and Explorations in Art and Technology.
Session chair
Leah Barclay
Discipline Lead of Design
University of the Sunshine Coast
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