- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
The chapter considers mobile locative audio applications, in which sounds are triggered or generated in response to GPS data, and it proposes a category of translocational audio, in which the listener navigates a sound environment which has no specific reference to a physical site, but is overlaid on it in a location of their own choice. It contextualizes this exploratory form of embodied interaction within developments in the twentieth-century musical avant-garde, investigating how composers such as Cage and Boulez reconceived musical structure in terms of spatial navigation, leading to the development of open-form composition and later to sound-installation practice. Drawing on Lakoff and Johnson’s work on conceptual metaphors, it is suggested that this development in musical thought constitutes a shift from a model in which music is understood as moving past a stationary listener to one in which a moving listener navigates a musical landscape.
Nye Parry is a sound artist, composer and Research Fellow at CRiSAP, University of the Arts, London. He has made numerous sound installations for museums including the National Maritime Museum, the British Museum and the Science Museum in London, as well as creating concert works, gallery installations and over 20 scores for contemporary dance. He has a PhD in electroacoustic composition from City University and teaches at the Guildhall School of Music and Drama and Trinity Laban Conservatoire. Between 2003 and 2011 he ran the MA in Sonic Arts at Middlesex University where he also did research on locative media.
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