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- Akson, an audio-visual environment for networked interaction and performancePublication . Arandas, Luís; Gomes, José Alberto; Penha, RuiIn this article we present Akson, a web-based audiovisual (AV) environment for networked interaction and performance. As a result of research in the context of Braga Media Arts, part of UNESCO’s creative cities network (UCCN), is documented why it was developed, its characteristics as a software that promotes networked artistic practice, as well as the tests performed. Taking advantage of the Internet’s infrastructure, Akson allows the exploration of hundreds of devices scattered around the world and the study of the interface as an extension of the human gesture.
- Directing selfness – a step back from digital collaboration on stagePublication . Arandas, Luis; Gomes, José Alberto; Penha, RuiCollaborative networked performance has been at the forefront of recent proposals in computer music and digital performance research. A feature of its stage effectiveness derives from the composition being often drawn from the instrument or the system. Also, these digital environments are programmed with both the inherent characteristics of human interaction and the properties of networks in mind. The performance Directing Selfness takes a step back from networked interaction using an interface made specifically for performative collaboration through an audio-visual solo. It is made in order to promote a stage-based exploration of a tool not only designed for other performative purposes, but also to promote a unique adaptation of the artist using it.
- Audible (Art): an introduction to the invisible sonic connectionsPublication . Gomes, José Alberto; Portovedo, Henrique; Carvalhais, MiguelThis is an introduction to a special edition of JSTA dedicated to the myriad forms of sonic connections and audible expressions. We approach three dimensions of sound in an artistic context: auditory specificities, performance dimensions, and computational listening. Sound is a complex phenomenon present in everyday life and dwelling between conscious and unconscious processes. A universe contained within itself, where every sound event has the potential to be considered aesthetic material, contributing to the proliferation of creative approaches. These specific conditions have potentiated an outbreak of sonic art genres and expressions. Listening as an epistemic process has been subjected to successive changes pushed by computation and the breeding of computational media. The intertwining of computation with environments leads to a state of permanent re-articulation, and supports the development of new relations in meta-environments, turning listening into a hybrid process of human and computational operations. This essay points to visions and approaches to sound as a specific field of knowledge that can arise from, lead to, or be used as a tool of world-building.