Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679035
Title: Mapping dynamic relations in sound and space perception
Author: Forcucci, Luca
ISNI:       0000 0004 5371 1121
Awarding Body: De Montfort University
Current Institution: De Montfort University
Date of Award: 2015
Availability of Full Text:
Access through EThOS:
Access through Institution:
Abstract:
The research investigates the dynamic relations between sound, space and the audience perception as related to an artist’s intention. What is the relation between sound and space in the sonic arts, and to what kind of merger does it lead? What relationship exists between the intention of the composer and the perception of the audience regarding architectural and environmental spaces? Is there a common thread of perception of architectural and environmental spaces among participants? Is embodiment a key for the perception of the dynamic relations of sound and space? The framework for the investigation is based on a map of three defined spaces (Real, Virtual, and Hyperbiological) included in a portfolio of six works (three electroacoustic compositions, two sound installations, and one performance), which lead to the analysis of the perception of space, namely, the perception of architectural and environmental spaces as required by the portfolio. The original knowledge resides in the exploration of a potential common representation (space and sound perception being, of course, a personal representation) of internal perceptual spaces and mental imageries generated by the works. The act of listening plays a major role in the development of the portfolio presented and includes Pauline Oliveros’ concept of deep listening (Oliveros 2005). Sound and space are intimately related in the portfolio. One particular element emerging from this relationship is the plastic quality of sound, meaning that sound is considered and observed as a material that is shaped by space. From this perspective the research investigates the ‘sculptural’ and morphological quality of the relationship between sound and space. The results include the specific language and signature of the artworks that delineate the intersection of music and fine arts. The portfolio pays a large tribute to several iconic artists present in the outposts of sound blurred by space. Composers and artists are therefore presented in the theoretical section in order to highlight how their pioneering works have influenced and informed the present research portfolio. The analysis of the perception of the artworks relates to a methodology based on an empirical survey inspired by phenomenology.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.679035  DOI: Not available
Keywords: mental imagery ; Perception ; architectural space ; sonic arts ; electroacoustic ; sound installations ; performances ; eeg ; duchamp
Share: