A sonificação e suas práticas artísticas: incursões na art-science, na música, na arte sonora e na data art.
Keywords:
Sonificação. Art-science. Música. Arte Sonora. Data art.Abstract
A sonificação é um campo relativamente jovem. Consolidou-se nos anos 1990 como um campo de pesquisa científica, mas também como prática artística. Busco neste artigo investigar a sonificação no âmbito artístico. Primeiro, devemos entender de que maneira a sonificação é definida nas artes e como ela se relaciona com a sonificação no âmbito da pesquisa científica. Em seguida, identificarei alguns campos artísticos em que a sonificação se insere para, com isso, analisar as questões levantadas pela sonificação em cada um destes campos. Os campos que serão analisados serão: art-science, música, arte sonora, e data art.
Downloads
References
BALLORA, Mark. Sonification, Science and Popular Music: In search of the ‘wow’. OrganisedSound, [s.l.], v. 19, n. 01, p.30-40, 26 fev. 2014. Cambridge University Press.
BARRASS, Stephen; KRAMER, Gregory. Using sonification. Multimedia Systems, v. 7, n. 1, p.23-31, 1 jan. 1999.
BARRY, Andrew; BORN, Georgina; WESZKALNYS, Gisa. Logics of interdisciplinarity. Economy And Society, [s.l.], v. 37, n. 1, p.20-49, fev. 2008. Informa UK Limited.
BORN, Georgina; BARRY, Andrew. ART-SCIENCE. Journal Of Cultural Economy, [s.l.], v. 3, n. 1, p.103-119, mar. 2010. Informa UK Limited.
CAMPESATO, L., e IAZZETTA, F. “Som, espaço e tempo na arte sonora”. Anais do XVI Congresso da ANPPOM, Brasília, 2006.
CANDEY, Robert M.; SCHERTENLEIB, Anton M.; MERCED, Wanda L. Diaz. XSONIFY Sonification Tool for Space Physics. In: INTERNATIONAL CONFERENCE ON AUDITORY DISPLAY, 12., 2006, London. Proceedings... . London: International Community On Auditory Display, 2006. p. 289 – 290.
DOMBOIS, Florian et al. Sonifyer: A Concept, a Software, a Platform. In: INTERNATIONAL CONFERENCE ON AUDITORY DISPLAY, 14., 2008, Paris. Proceedings... . Paris: International Community On Auditory Display, 2008.
GAVER, William W.. The SonicFinder: An Interface That Uses Auditory Icons. Humancomp. Interaction, [s.l.], v. 4, n. 1, p.67-94, 1 mar. 1989.
GENA, Peter. Apropos sonification: a broad view of data as music and sound. Ai & Society, [s.l.], v. 27, n. 2, p.197-205, 31 ago. 2011. Springer Nature.
HEDGES, Stephen A.. Dice music in the eighteenth century. Music & Letters, [s.l.], v. 59, n. 2, p.180-187, abr. 1978.
HERMANN, Thomas – Taxonomy and Definitions for Sonification and Auditory Display. Proceedings of the 14th International Conference on Auditory Display. Paris, França. 2008.
HOUSE, Brian. Quotidian Record. 2012. Disponível em: <https://brianhouse.net/works/quotidian_record/>. Acesso em: 09/05/2019.
IDEAS. IDEAS Grant Program. 2004. Disponível em: <https://www.nasa.gov/audience/foreducators/postsecondary/features/F_IDEAS.html>. Acesso em: 09/05/2019.
KRAMER, Gregory et al. Sonification Report: Status of the Field and Research Agenda. International Community For Auditory Display, 1997.
LCHSOUND. About LHCsound. [2010?]. Disponível em: <http://lhcsound.hep.ucl.ac.uk/page_about/About.html>. Acesso em: 09/05/2019.
MACLAY, Kathleen. Interactive music from CO2 readings: Program notes. [2002?]. Disponível em: <http://chrischafe.net/oxygen-flute/>. Acesso em: 09/05/2019.
MODES, Wes. Revisiting the Technical Achievements of Listening Post Ten Years On. Nmediac: The Journal
of New Media and Culture, v. 9, n. 1, 2013.
MOGGRIDGE, Bill. Designing Interactions. London: The Mit Press, 2007.
PROUST, Dominique. The Harmony of the Spheres from Pythagoras to Voyager. Proceedings Of The International Astronomical Union, [s.l.], v. 5, n. 260, p.358-367, jan. 2009. Cambridge University Press.
RISSET, Jean-claude. The Liberation of Sound, Art-Science and the Digital Domain: Contacts With Edgard Varèse. Contemporary Music Review, [s.l.], v. 23, n. 2, p.27-54, jun. 2004. Informa UK Limited.
ROADS, Curtis. The Computer Music Tutorial. Cambridge: The MIT Press, 1996.
SIMANOWSKI, Roberto. Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations. Minneapolis: University Of Minnesota Press, 2011. (Electronic Mediations 35).
SINCLAIR, Peter Francis. Using Real-Time Data Flux in Art - The Mediation of a Situation as it Unfolds: RoadMusic - An Experimental Case Study. 2013. 272 f. Tese (Doutorado) - Curso de Filosofia, University Of The Arts London, Londres, 2013.
STRAEBEL, Volker. The sonification metaphor in instrumental music and sonification's romantic implications. In: THE 16TH INTERNATIONAL CONFERENCE ON AUDITORY DISPLAY, 16., 2010, Washington D.c.. Proceedings. Washington: International Community For Auditory Display, 2010. v. 20, p. 287 – 294.
SUPPER, Alexandra. Sublime frequencies: The construction of sublime listening experiences in the sonification of scientific data. Social Studies Of Science, [s.l.], v. 44, n. 1, p.34-58, fev. 2014. SAGE Publications.
SUPPER, Alexandra. The Search for The "Killer Application": Drawing The Boundaries Around TheSonification of Scientific Data. In: PINCH, Trevor; BIJSTERVELD, Karin. The Oxford Handbook of Sound Studies. Nova Iorque: Oxford University Press, 2012. p. 249-270.
VARESE, Edgard; WEN-CHUNG, Chou. The Liberation of Sound. Perspectives Of New Music, [s.l.], v. 5, n. 1, p.11-19, 1966.
VICKERS, Paul; HOGG, Bennett. Sonification Abstraite/Sonification Concrète: An ‘Aesthetic Perspective Space' for Classifying Auditory Display in the Ars Musica Domain. Proceedings of the 12th International Conference on Auditory Display. Londres, UK. 2006.
XENAKIS, Iannis. Formalized Music: thought and mathematics in composition. Stuyvesant: Pendragon Press, 1992. (Harmonologia Series).
