Obra Artística Interdisciplinaria

Géneros y Categorías [GyC]

 ]

Este término, similar a Multimedia/Intermedia, se refiere a los trabajos en los que los artistas con especializaciones en diversos medios colaboran para crear nuevas piezas, idealmente basadas en una noción holística. Es decir, que la obras en sí son más que la suma de sus partes. En la mayoría de los casos, las obras electroacústicas interdisciplinarias implican un contexto audiovisual.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-126 | >> 60 next

Allen, J. Anthony (2004). Playing with Fire: An unexpected collaboration
Auzet, Roland (2000). Gesture-following Devices for Percussionists
Bain, Mark (2003). The {Live Room}: Transducing resonant architectures
Bayle, François, Chion, Michel, Vande Gorne, Annette (1994). Le caprice et la cohérence
Blaine , Tina (2005). The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment
Blaukopf, Kurt (1971). Space in Electronic Music
Bonardi, Alain (2003). Geste lyrique versus geste interactif. Exemple de l’opéra interactif {Alma Sola}
Bonin, Vincent, Heimbecker, Steve (2006). Interview with Steve Heimbecker
Bosseur, Jean-Yves (2001). Musique concrète/peinture abstraite
Bridoux-Michel, Séverine (2004). Musique, architecture, un projet multimédia: le Pavillon Philips de l’Exposion internationale de 1958
Burtner, Matthew (2005). Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance
Camurri, Antonio, Trocca, Riccardo (2000). Movement and Gesture in Intelligent Interactive Music Systems
Caux, Jacqueline, Delalande, François, Gayou, Evelyne, Teruggi, Daniel (2002). {Presque rien} avec Luc Ferrari
Chion, Michel (1991). L’art des sons fixés ou la musique concrètement
Chion, Michel (1993b). Le promeneur écoutant
Chion, Michel (1998). Le son
Chion, Michel (2003). Pierre Henry
Chion, Michel, Gayou, Evelyne (2005). Construire le temps alors même qu’il se fissure
Cipriani, Alessandro, Ciardi, Fabio Cifariello, Ceccarelli, Luigi, Cardi, Mauro (2004). Collective Composition: The Case of Edison Studio
Couprie, Pierre (2000). Pierre Schaeffer
Courribet, Benoît (2005). Réflexions sur les relations musique/video et stratégies de mapping pour MAXMSP/Jitter
Dallet, Sylvie, Brunet, Sophie (1996). Pierre Schaeffer. A Career in Research
Duchenne, Jean-Marc (1998). Pour un art des sons vraiment fixés
Dufour, Denis (2001). Futura : un festival dedié à l’art acousmatique
Dufour, Denis, Prager, Jonathan (1998). Entretien avec Denis Dufour
Emmerson, Simon (1998b). Aural Landscape: Musical Space
Frémiot, Marcel (1999). De l’objet musical aux unités sémiotiques temporelles
Hahn, Tomie, Bahn, Curtis (2002). {Pikapika} - The collaborative composition of an interactive sonic character
Holmes, Thom (2002). Electronic and Experimental Music
Hyde, Joseph (2003). Off the Map? - Sonic Art in the New Media Landscape
Kahn, Douglas (1999). Noise, Water, Meat: A History of Sound in the Arts
La Motte-Haber, Helga de (1999b). Klangkunst: Die gedanklichen und geschichtlichen Voraussetzungen: (Sound Art: its concepts and history)
Landy, Leigh (1988). How Often Have you Seen Your Compositions Performed? A Plea for More Audio-visual Collaborations in Experimental Music
Landy, Leigh (1991). What’s the Matter with Today’s Experimental Music: Organized Sound too Rarely Heard
Landy, Leigh (1994a). Experimental Music Notebooks
Landy, Leigh (2002a). The Emancipation of Sound in that Box We Call a Theatre
Landy, Leigh, Jamieson, Evelyn (2000). Devising Dance and Music: Idée Fixe - Experimental Sound and Movement Theatre
Landy, Leigh, Jamieson, Evelyn, Ng, Kia (2003). {In Transit} or Realising One’s Aesthetic when the Technology Finally Catches Up
Langlois, Philippe (1999). Les pionniers du son synthétique au cinéma
Langlois, Philippe (2002). Bernard Parmegiani au service de la recherche
Lanzalone, Silvia (2000). Hidden Grids: Paths of expressive gesture between instruments, music and dance
Laubier, Serge de (1999). Le Méta-Instrument a-t-il un son ? Émergence de lois ou de constantes dans le développement d’instruments virtuels
Laubier, Serge de (2000). The Meta-Instrument. How the project started
Lavandeyra-Schöffer, Éléonore de (2001). L’œuvre de Nicolas Schöffer en parallèle de celle de Pierre Schaeffer
LE CORBUSIER, (1957). Der Modulor (The Modulor)
Légeret, Katia (2003). Interface danse/musique une poétique de l’énergie percussive
Lejeune, Jean-Michel (2004). Robin Minard 4
Levin, Thomas Y. (2004). “Des sons venus de nulle part” Rudolf Pfenninger et l’archéologie du son synthétique
Lewis, Peter Tod (1978). Electronic Music at the University of Iowa
Little, David (1993). Composing with Chaos; Applications of a New Science for Music
Merlier, Bertrand (1998). À la conquête de l’espace
Mumma, Gordon (1975). Live-Electronic Music
Mäkelä, Tapio (2006). As We May Network: Shifting sound and media art practices
Ng, Kia (2002). Sensing and Mapping for Interactive Performance
Norman, Katharine (1996). Real-World Music as Composed Listening
Packer, Randall (2004). {The Pavilion: Into the 21st Century}: A space for reflection
Paine, Garth (1999). Immersive Virtual Environments: A Social Perspective
Pellegrino, Ronald (1983). The Electronic Arts of Sound and Light
Piché, Jean (2003). De la musique et des images
Pottier, Laurent (1999). Contrôle interactif d’une voix chantée de synthèse

 

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