Class Digital Audio Computing and Interfaces Design

This curricular unit introduces a diversity of artistic practices that explore sonic, visual and audio-visual systems and instruments. It stimulates the development of a critical perspective over interface design. The knowledge of artistic examples is complemented with knowledge derived from sound theory, audio-visual theory, interaction design and perception science. This interdisciplinary approach motivates the development of practical works. Articulating theory and practice, the student gains skills related to the exploration of sound with diverse creation media.

• Sound art, from the early 1900s to nowadays. Physical, electronic and digital interfaces. Physical space as creative material.
• Analysis tools for:
  • Interaction / cognitive effort.
  • Dynamics / taxonomy of continuities and discontinuities related with attention.
  • Types of audio-visual relationships / perceptual effects.
  • Semantics of sound and physical setup. Relation with attention.
• Digital processes of sound analysis. Amplitude analysis vs. frequency analysis. Digital analysis vs. human perception.
• Creation of sonic pieces: recording and editing of sounds, elaboration/ configuration of analogical and/ or digital systems, creation of graphic notation systems, recording and editing of sonic results.
• Creation of websites including the presentation, contextualization and analysis of the practical works.

The students are provided with theoretical tools for the analysis of any sonic, visual and audio-visual work. These tools are grounded on knowledge derived from neuroscience, psychology, musicology, audio-visual theory and interaction design. They are used in the analysis of multiple artistic works, historical and recent. 

The practical work unfolds in a cumulative way: capturing and editing sounds, exploring analogue and digital systems, conceiving sonic dramaturgies, recording results. The tutorial support focuses on the relation between concept / chosen media / form-content. The students are expected to complement the classes with autonomous investigation, so as to develop their personal inclinations and skills. 

• Sá, A., Carvalhais, M., McLean, A. et al. (2015). Live Interfaces: Seeds of Debate. INTER-FACE - Proceedings of ICLI 2014, pp 14-28. Universidade do Porto, CECL & CESEM (Universidade NOVA), e MITPL (University of Sussex). ISBN 978-989-746-060-9. http://www.cityarts.com/adrianasa/ICLI_2014-Proceedings.pdf
• Cascone, Kim (2000). The Esthetics of Failure: Post-Digital Tendencies in Computer Music. Computer Music Journal 24 (4) pp 12-18.
• Sá, Adriana & Tanaka, Atau (2019). The Variables of Spatial Presence: A Parametric Model. xCoAx 2019 Proceedings. http://2019.xcoax.org/pdf/xCoAx2019-Sa.pdf
• Sá, Adriana (2017). Designing Musical Expression. xCoAx 2017 Proceedings. ISBN: 978-989-746-128-6 http://2017.xcoax.org/pdf/xcoax2017-Sa.pdf
• Tanaka, Atau (2009). Sensor-Based Musical Instruments and Interactive Music. Creative and Performance Modes, ed. Dean, R., The Oxford Handbook of Computer Music pp 233- 257.