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Multiphonics on the classical guitar is currently being researched by the present authors in regard to the reproducibility of the sounds originated and the suitability of the technique as a compositional element in writing for amplified guitar. Our hypotheses are to be tested, for which criteria for the data collection and treatment were established and are here detailed.
Warning Regarding the films under analysis, only words by their authors are used as references. There is, therefore, a deliberate 'disinterest' in other people's opinions. Authors do not always tell everything, sometimes they distort the order of things and facts themselves (not always to their own advantage), but even their 'lies' offer us clues, if not to the final significance, at least for their intentions and wishes - for the project. I think that one's own work and words are (almost) always the best point of departure for personal reflection, even if it results in already explored or proposed paths. This warning is justified because there are countless analyses, particularly of Eisenstein's Potemkin, openly ignored here. This is, evidently, a contradiction in terms, given that I know some of these analyses and it would be impossi...
Television and Cinema present specific behaviour and language in relation to reality. If film focuses on its proximity to artistic practices, and this reflects the viewer’s relationship with the film, television, in turn, seeks in directness or the transposition of the real to the imaginary, the key to its success, the audience. We all see the possibilities that television has for viewers. Even those most aware of the various con- straints, and who claim themselves to be not influenced, come under the hypnotic power of the television screen. The quality of the programming continues to decline, succumbing to the claim that television channels have to get into the audience “ratings”.
The dawn of computer data visualization launched a permanent challenge: the representation of objects with computers. Nowadays we expect to see and experience not just a mere representation of objects but realistic objects created by computers. This work is an ongoing experiment to demonstrate how we sought to represent artistic objects, rebuild and enhance their visual appearance, and reconstruct missing physical parts using of Computer Graphic tools. This multidisciplinary effort enables us to experience virtual artistic objects and makes them available for uncontrolled and unprepared 3d environments like classrooms, museums, or wherever we intend to easily share digital contents.
The idea of playing livemusic with someone abroad represents a major challenge for musicians and sound engineers likewise. Cognitive, technical and purely musical aspects make high demands on a network music performance that should fulfill conditions of a realistic rehearsing scenarios in the same room. In turn the idea of a network music performance has generally been considered as an impracticable application. However, a precise and comprehensive analysis has so far not been published, which equally covers technical, cognitive aspects and their interdependencies equally. In order to give a final and valid statement about the feasibility of distributed real time music we take any of such relevant aspect into consideration and explain it accordingly to the reader. Finally we conclude that in recent wide area networks remote music sessi...
This study investigates the field of higher education and expertise development for learning and performing the double bass. The aim is to draw a picture of how the double bass is currently learned and performed by the learning student, the supervising professor and the performer working in a symphony orchestra, to find out whether if there were any significant differences between the three groups in their approaches to practice and performance. Results indicated that the achievement of expertise on the double bass is multifaceted and implies the development of multiple tasks and skills which soon have to be fostered and experienced in the field of learning and performing. Significant differences between the three groups were detected in the area of demography, experiences, knowledge, and their approaches to practice. Recommendations a...
Over the centuries, people have combined fields, leading to the creation of new domains. For example, artists have used technology to widen the range of their medium to express ideas in new ways. Similarly, technology has leveraged art to expand its range of application. Both art and technology continue to inspire innovation in each other. A contemporary example of this process is evident in interactive art era; this article covers this topic focusing on tangible interface pieces. There have been many compelling demonstrations that involve tangible interaction to increase audience interests through their embodied interaction. However, most existing approaches are limited to engaging a user’s immediate, temporary experience with setting some context of the environment with story elements. This article presents an interactive installatio...
Contemporary art, particularly that which is produced by computer technologies capable of receiving data input via interactive devices (sensors and controllers), constitutes an emerging expressive medium of interdisciplinary nature, which implies the need for a critical look at its constitution and artistic functions. To consider interactive art as a form of artistic expression that files under the present categorization, implies the acceptance of the participation of the spectator in the production of the work of art, supposedly at the time of its origin / or during its creation. When we examine the significance of the formal status of interactivity, assuming as a theoretical starting point the referred premises and reducing it to a phenomenological point of view of artistic creation, we quickly fall into difficulties of conceptual de...
A review of the companion volume for Maus I and Maus II by Art Spiegelman
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