Oproep 3: Digitaal werken in de kunsten

Addressing Acoustic perception in Online Platforms For Artistic Expression Or Dissemination

Naar welke uitdagingen voor digitaal werken in de kunsten gaat je interesse uit?

A current problem in online platforms for art is that they tend to homogenize sense perception. As acoustic investigators, our main challenge is designing strategies in how to include simulated auditory perception and body/space interaction in online art production. Our proposed approach is to investigate dedicated convolutional auralization processing in web api and videogame technology.

Waarom wil je graag deelnemen aan deze oproep?

As Patrimoni Acustic collective (http://patrimoniacustic.cat/), our main research interest in the past few years is how to incorporate spatial acoustic properties to artistic narratives. We understand that these objectives are not easy to reach because they involve many different skills and technology approaches. That is why our collective is formed by acoustic engineers, sound technicians, sound artists, architects, online and 3d programmers. We want to expand our frontiers by collaborating together with other art actors. On auditory perception, sound and space are indivisibles, but through a digital processing you can actually separate them in order to propose new artistic scenarios. In the real world, art spaces often have physical limitations. In the simulated space this is not a problem but it has to be designed on a collaborative dynamic between artists and technology developers. This project is not static, it is a methodology which can be implemented, designed, discussed and improved by multiple people.

Hoe kan jouw werk met deze uitdagingen een impact hebben op de fairness en duurzaamheid van de kunsten van Vlaanderen en Brussel?

The acoustic space is not only perceived by its physical characteristics. The acoustic space is also built on our perception through our experience and its cultural meaning. Local communities are relevant in this process because no one knows their spaces better than they do. Collaboration and research on including spaces in an online art production should be framed at the local level. Acoustics and relevant sound spaces must be protected using professional methodology. Building sound and acoustic impulse response libraries from relevant Flanders art spaces implies a cultural safeguard in itself. The artistic work in these spaces through online platforms implies an artistic update. Thus, in this digital placement, technology creates a new concept of territory and this should be seen as a local benefit. It is for this reason that these materials have to be free and available to the local community.


Ginebra Raventos http://patrimoniacustic.cat/ patrimoniacoustic@gmail.com