- 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
This chapter explores the differences between immersive and reactive audiovisual art. The work of video artists Tony Oursler, Lynn Hershman Leeson, Bill Viola, Pipilotti Rist, and Camille Utterback and musicians John Cage, Brian Eno, and Björk is used to identify the ways in which video, as a medium, can press at the one-way flow of communication that often governs the performance of music and the consumption of visual art. Video technology can give visitors a hands-on, creative role in forging audio artwork, replacing the autonomy of an artist or composer with the spontaneous possibilities of audience-controlled process art. Moving from early interactive video environments to recent pieces that make use of touch-screen interfaces, this chapter charts a progression from communal audiovisual participation to the more interiorized experiences that characterize many contemporary video works.
Holly Rogers is senior lecturer in Music at the University of Liverpool and a Fulbright Scholar at the Cinema Department of San Francisco State University. She has published on a variety of audiovisual topics including music and experimental cinema, visual music and composer biopics. Recent research fellowships at University College Dublin and Trinity College Dublin enabled her to complete her monograph Sounding the Gallery: Video and the Rise of Art-Music (OUP), in which she argues that video is as much a musical genre as it is a visual one. Holly is currently investigating the interactions between sound and art in the galleries of San Francisco as part of a larger project on video intermediality.
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