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New Communications Technology in the Context of Interactive Sound Art: an empirical analysis

Frisk, Henrik LU and Yoshida, Miya LU (2005) In Organised Sound 10(2). p.121-127
Abstract
In this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmö Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may... (More)
In this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmö Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. We also attempt to describe what we believe an implementation of active public participation can lead to.



We are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. The latter is, by definition, rather subject centred and expansive based on individual observation. We examine and analyse the phenomenon of ‘participation’ whilst playing etherSound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity. (Less)
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author
organization
publishing date
type
Contribution to journal
publication status
published
subject
in
Organised Sound
volume
10
issue
2
pages
121 - 127
publisher
Cambridge University Press
external identifiers
  • scopus:84882330493
ISSN
1469-8153
DOI
10.1017/S1355771805000762
language
English
LU publication?
yes
id
f8722937-f3bc-41e6-98a6-b3dc6cb84840 (old id 154265)
date added to LUP
2007-07-25 10:52:49
date last changed
2017-10-01 03:45:19
@article{f8722937-f3bc-41e6-98a6-b3dc6cb84840,
  abstract     = {In this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmö Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. We also attempt to describe what we believe an implementation of active public participation can lead to.<br/><br>
<br/><br>
We are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. The latter is, by definition, rather subject centred and expansive based on individual observation. We examine and analyse the phenomenon of ‘participation’ whilst playing etherSound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity.},
  author       = {Frisk, Henrik and Yoshida, Miya},
  issn         = {1469-8153},
  language     = {eng},
  number       = {2},
  pages        = {121--127},
  publisher    = {Cambridge University Press},
  series       = {Organised Sound},
  title        = {New Communications Technology in the Context of Interactive Sound Art: an empirical analysis},
  url          = {http://dx.doi.org/10.1017/S1355771805000762},
  volume       = {10},
  year         = {2005},
}