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Figure 4 – uploaded by Ernest Edmonds

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Figure 4: A still from the performance of one of Edmonds’ and Fell’s works

Figure 4 A still from the performance of one of Edmonds’ and Fell’s works

Related Figures (4)

Figure 1: An Abado image typical of those used
Figure 1: An Abado image typical of those used
Figure 2: One of Jack Ox’s images generated in the COSTART residency
Figure 2: One of Jack Ox’s images generated in the COSTART residency
Figure 3: A still from the video illustration of Tone performing with the Soft-board tem of correspondences among sound, images, and words external and applicable to different art works. Instead, he converts one medi- um into another, images into sounds, and brings to life the sounds that are intrinsic to an image, just as sound, image, and meaning are intrinsic to a Chinese character.
Figure 3: A still from the video illustration of Tone performing with the Soft-board tem of correspondences among sound, images, and words external and applicable to different art works. Instead, he converts one medi- um into another, images into sounds, and brings to life the sounds that are intrinsic to an image, just as sound, image, and meaning are intrinsic to a Chinese character.
Figure 5: A space in which to place audiovisual works We can distinguish between interactive works and non-interactive works. Films are examples of non-interactive works in which the audience cannot change the flow of the audio/visual material, while, for example, Abbado’s Interactive Noise is a piece centred on the possibility for the audience to interact with the audio and visual mate- rial and, therefore, experience how these two aspects of the same piece interact with each other. There are different ways for the inter- action to occur: the audience or the performer can be allowed direct interaction with only the audio or the visual material, and then, respectively, visual and audio are generated as a consequence. There can be interaction with the audio/visual object as a whole, or direct interaction separately with the audio or the visual material can gener- ate a combined response.
Figure 5: A space in which to place audiovisual works We can distinguish between interactive works and non-interactive works. Films are examples of non-interactive works in which the audience cannot change the flow of the audio/visual material, while, for example, Abbado’s Interactive Noise is a piece centred on the possibility for the audience to interact with the audio and visual mate- rial and, therefore, experience how these two aspects of the same piece interact with each other. There are different ways for the inter- action to occur: the audience or the performer can be allowed direct interaction with only the audio or the visual material, and then, respectively, visual and audio are generated as a consequence. There can be interaction with the audio/visual object as a whole, or direct interaction separately with the audio or the visual material can gener- ate a combined response.
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