IKG
  • Guidance
  • Gerriet K. Sharma
  •  
  • Course ID
  • TOOL16_2021_WS
  •  
  • Course Start
  • 19/02/2021
  • Course End
  • 23/05/2021

 
  • Music and Culture
  • Music and Health
  • Music and Perception
  • Music and Performance / Theatre
  • Music and Space
  • Music and Visuality
  • Music as Sound Art

Within the past 10 years, immersion has become a frequently used term in concert venues and studios with multichannel-loudspeaker arrays, in the context of audio-visual caves, VR, AR and fine arts. Manufacturers of loudspeaker systems as well as the gaming industry are using the term as a feature that heralds a new step in “multi-media” experiences, and academia is claiming a kind of expertise in this field based on years of scientific experimentation and avant-garde practice. At the same time, exhibition halls thematise immersion in VR as a socio-political issue of the present and contemporary club culture is making a shift towards immersive, new worlds of experiences ranging from the most subtle and nuanced to the most intensely visceral, from healing and meditative to thought provoking and radical. These days, protagonists of Pop music, Ambient and experimental forms of Club and Rock music are idolised by loudspeaker companies and produce, within very short rehearsal times, “immersive experiences” for festivals and museums. However, also global marketing for all kinds of consumer products has understood the modes of action and thoroughly researched the intrinsic qualities of the field to create a cohesive and all-encompassing experience through Immersion Branding.  Even data analysis recently entered Immersion Analytics with the help of VR. Immersion is without doubt a subject of debate and current relevance. But what can we expect from this terminology and its applications when it comes to an extended artistic articulation as well as advanced production, and what are its implications for the shared perceptive situation of artists, engineers and audiences in the Now? Within recent years, the use of spatial audio (e.g. Ambisonics) has come into the focus of game design, online platforms such as YouTube, and companies like Google and Facebook, as well as consumer electronics, event locations, and architecture. Quite likely in the near future artificial auditory environments will be part of everyday life, and for a great number of people, a part of their reality. The emerging question is, who creates these environments and with which intentions, and how can music, sound art, and design contribute with their own strategies, to such a reality?

This seminar will provide different theories on space and spatiality from the past 80 years salient in music and the arts. Different artistic and philosophical approaches will be introduced and discussed to show that space has indeed become one of the most important subjects that bears a polyvalent structure we can define, compose, defend and imagine.

Aimed to: composers, musicians, sound designers, sound artists, performers.

Basic Information

Course ID

TOOL16_2021_WS

Degree

IKG Certificate

Direction

Gerriet K. Sharma

Course Duration

On Fridays
Time to be Confirmed

Price

500€

Method

Semi-Presence

Language

English

Course Start

19/02/2021

Course End

23/05/2021

Mentors

Gerriet K. Sharma

Tools

Theoretical and practical courses with specific themes and contents for their application in the most avant-garde and demanding artistic research projects. Artists, researchers and students will be able to acquire multiple skills according to their training needs and level of knowledge. Depending on their nature, the courses are given on-site at our headquarters in San Ildefonso, on the IKG's virtual campus or with a mixed presential-virtual structure. Some courses may be complemented with Labs.

Within the past 10 years, immersion has become a frequently used term in concert venues and studios with multichannel-loudspeaker arrays, in the context of audio-visual caves, VR, AR and fine arts. Manufacturers of loudspeaker systems as well as the gaming industry are using the term as a feature that heralds a new step in “multi-media” experiences, and academia is claiming a kind of expertise in this field based on years of scientific experimentation and avant-garde practice. At the same time, exhibition halls thematise immersion in VR as a socio-political issue of the present and contemporary club culture is making a shift towards immersive, new worlds of experiences ranging from the most subtle and nuanced to the most intensely visceral, from healing and meditative to thought provoking and radical. These days, protagonists of Pop music, Ambient and experimental forms of Club and Rock music are idolised by loudspeaker companies and produce, within very short rehearsal times, “immersive experiences” for festivals and museums. However, also global marketing for all kinds of consumer products has understood the modes of action and thoroughly researched the intrinsic qualities of the field to create a cohesive and all-encompassing experience through Immersion Branding.  Even data analysis recently entered Immersion Analytics with the help of VR. Immersion is without doubt a subject of debate and current relevance. But what can we expect from this terminology and its applications when it comes to an extended artistic articulation as well as advanced production, and what are its implications for the shared perceptive situation of artists, engineers and audiences in the Now? Within recent years, the use of spatial audio (e.g. Ambisonics) has come into the focus of game design, online platforms such as YouTube, and companies like Google and Facebook, as well as consumer electronics, event locations, and architecture. Quite likely in the near future artificial auditory environments will be part of everyday life, and for a great number of people, a part of their reality. The emerging question is, who creates these environments and with which intentions, and how can music, sound art, and design contribute with their own strategies, to such a reality?

This seminar will provide different theories on space and spatiality from the past 80 years salient in music and the arts. Different artistic and philosophical approaches will be introduced and discussed to show that space has indeed become one of the most important subjects that bears a polyvalent structure we can define, compose, defend and imagine.

Aimed to: composers, musicians, sound designers, sound artists, performers.

Basic Information

Mentors

Gerriet K. Sharma

Tools

Theoretical and practical courses with specific themes and contents for their application in the most avant-garde and demanding artistic research projects. Artists, researchers and students will be able to acquire multiple skills according to their training needs and level of knowledge. Depending on their nature, the courses are given on-site at our headquarters in San Ildefonso, on the IKG's virtual campus or with a mixed presential-virtual structure. Some courses may be complemented with Labs.