IKG
  • Dirección
  • Gerriet K. Sharma
  •  
  • Curso ID
  • TOOL16_2021_WS
  •  
  • Inicio del curso
  • 19/02/2021
  • Final del curso
  • 23/05/2021

 
  • La música y el espacio
  • Música como arte sonoro
  • Música y Cultura
  • Música y Percepción
  • Música y performance/teatro
  • Música y Salud
  • Música y Visualidad

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

Curso ID

TOOL16_2021_WS

Título

IKG Certificate

Dirección

Gerriet K. Sharma

Duración de curso

On Fridays
Time to be Confirmed

Precio

500€

Método

Semi-Presencia

Idioma

English

Inicio del curso

19/02/2021

Final del curso

23/05/2021

Mentores

Gerriet K. Sharma

Tools

Cursos teórico prácticos con temáticas y contenidos específicos para su aplicación en los proyectos de investigación artística más vanguardista y exigente. Artistas, profesionales, investigadores y estudiantes podrán adquirir múltiples destrezas según su necesidad formativa y nivel de conocimiento. Dependiendo de su naturaleza, los cursos se imparten presencialmente en nuestra sede de San Ildefonso, en el campus virtual del IKG o con una fórmula mixta presencial-virtual. Algunos cursos podrán ser complementados con laboratorios.

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

Mentores

Gerriet K. Sharma

Tools

Cursos teórico prácticos con temáticas y contenidos específicos para su aplicación en los proyectos de investigación artística más vanguardista y exigente. Artistas, profesionales, investigadores y estudiantes podrán adquirir múltiples destrezas según su necesidad formativa y nivel de conocimiento. Dependiendo de su naturaleza, los cursos se imparten presencialmente en nuestra sede de San Ildefonso, en el campus virtual del IKG o con una fórmula mixta presencial-virtual. Algunos cursos podrán ser complementados con laboratorios.