Octophonic Audiovisual Tessellations (OAT)
This 8 channel fixed media electroacoustic video work encompasses noise and acousmatic genres. The sonic output is controlled by custom real-time processing and surround sound panning in Max and Ableton. We are particularly interested in the role of gesturally-controlled real-time signal processing in a multichannel environment and the exploration of live sound diffusion practices that balance automated and performative gestures (as demonstrated by the mediatized performance in the final work). Overall, we make tangible the complex interplay between the software and hardware elements of our bespoke hybrid systems and visually demonstrate the role of the human performers, while embracing the potential of a surround sound environment as a catalyst for electroacoustic composition.
Funding
Academic Study Programme (ASP) 2024, Griffith University
History
ERA Category
- Original Creative Work - Musical Composition
Eligible major research output?
- Yes
Research Statement
Research Background The primary research field is electroacoustic composition, often summed up via Dhomont’s assertion that ‘imagination gives wings to intangible sound’, meaning the visual modality is removed and sound experienced acousmatically (sound unseen). The secondary research field is surround sound diffusion in the tradition of acousmonium multichannel systems and the performance practices and intellectual traditions of Jonty Harrison’s Birmingham ElectroAcoustic Sound Theatre (BEAST), Adrian Moore and James Mooney's M2 sound diffusion system and (more recently) Shawn Greenlee’s Studio for Research in Sound and Technology (SRST). Our research question is: to what extent can gestural interaction with bespoke tools in a multichannel sonic environment be a catalyst for new compositional work? Research Contribution This 8 channel fixed media electroacoustic video work encompasses noise and acousmatic genres. The sonic output is controlled by custom real-time processing and surround sound panning in Max and Ableton. We are particularly interested in the role of gesturally-controlled real-time signal processing in a multichannel environment and the exploration of live sound diffusion practices that balance automated and performative gestures (as demonstrated by the mediatized performance in the final work). Overall, we make tangible the complex interplay between the software and hardware elements of our bespoke hybrid systems and visually demonstrate the role of the human performers, while embracing the potential of a surround sound environment as a catalyst for electroacoustic composition. Research Significance OAT was peer reviewed by two international juries and selected/presented: 1) in concert at the Loreto Theatre at The Sheen Center for Thought & Culture as part of New York City Electroacoustic Music Festival in 2024; 2) in concert as part of the International Computer Music Conference 2024 in Seoul, South Korea.Publisher
New York City Electroacoustic Music Festival 2024Place of publication
New York City, USAPublisher URL
Copyright notes
© 2024 John Ferguson and Nicole CarrollWas the work disseminated?
- Yes
Form of dissemination
- Public performance
Scope of dissemination
- International