Description
Over the past few years, generative audio models have moved from emerging technologies to increasingly established tools for musical creation. As artists, researchers, and developers have gained experience working with diffusion models, neural audio synthesis, latent-space instruments, and other generative approaches, it has become possible to look beyond their initial promise and ask what these technologies actually afford in practice.
Registration
Please fill out this MS form to register: https://forms.cloud.microsoft/r/2nrfnhxcTz
This event is free and open to the public.
Program
Three presentations and demonstrations + collective final discussion
Luca Frigo - Conservatorio G. Nicolini, Piacenza – The artistic role of the sound engineer in spatial audio: A practice-led investigation into interpretation, authorship, and space
The research investigates the artistic role of the sound engineer in spatial music production, proposing that his spatial decisions constitute interpretative acts along a continuum of fidelity/interpretation/co-authorship. The presentation starts with a theoretical reflection on the artistic recognition of sound engineers and then moves on to demonstrations of practical applications in the four fields predominantly addressed by the researcher: immersive recording, restoration of spatialized electroacoustic works, electroacoustic composition, and sound analysis with spatial instruments. It will also be presented some software for immersive production developed by the researcher.
Mattia Loris Siboni – Accademia di Belle Arti di Napoli: Sound ecosystems: A practice-based analytical framework for
sound art
This doctoral research investigates contemporary Sound Art through the concept of sound ecosystems, understood as dynamic systems of relations between sound, space, time, technology, media and perception. It aims to develop analytical approaches for understanding sound-based and installative works beyond their exclusively sonic dimension, focusing on the interplay between cross-modality and cross-mediality.
Through a practice-based research methodology, theoretical investigation is developed in dialogue with the conception and realization of original projects. These works serve as experimental contexts in which analytical and compositional tools are tested and refined. The presentation will outline the theoretical foundations and the compositional and analytical tools developed so far, before showcasing one of the works currently in development: the sound installation TurnOn.
Pierpaolo Ovarini – Accademia di Belle Arti di Napoli: Sound plastic: augmented audio reality and virtual symbolism in sound art and
Electronic music
Thanks to the plastic characteristics inherent in sound we are able to build words utilizingexclusively the relation between real space and aural space. It's not only about music or sound design, we can consider sound art and electronic music composition as a form of "time-based" contemporary art that utilize sound as sculptural material and compositional technique as the poetics of a work. The research aims to build an ecosystem of hardware and software that helps author and realize AAR experiences, within a theoretical and cultural framework, ensuring a design that is both stable and speculative, and remains functional, intuitive, and open enough to be adopted by a diverse range of creative practitioners across the arts and design. A demo of the Cielo binaural renderer and author software will be shown to the public.