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POWERS OF SOUND
TABLES AND WORKSHOPS /
PANELS AND WORKSHOPS
TABLES / PANEL
June 5th, 6th and 7th, Federal University of Santa Catarina - UFSC
WORKSHOPS / WORKSHOPS
June 6th, Federal University of Santa Catarina - UFSC
Poetics of listening and the radio arts
The workshop seeks to offer participants experience with vocality, listening and sonority in recording and listening to poetic texts. At the same time, it wants to provide recognition of possible soundscapes and soundscapes. Listening as poetics of creation. say and listen
FILIPE MALISKA & HYRAM FAVARIN
Composers and visual artists have been related since Debussy's interest in Whistler, Tuner and Monet, Franz Liszt's fascination with Raphael and Michelangelo, or we can speak of Kandinsky with Schoenberg.
New technologies have always brought new inspirations and artistic possibilities. In music, we can talk about the piano, which when it appeared brought dynamics as a new element to be used by composers, or the timbre revolution that electroacoustic music made possible in Germany in the 50s, in painting, new brushes, new inks, the digital revolution, every novelty made art breathe and move forward.
The Virtual Reality area is constantly developing and growing exponentially. This area corresponds to a new generation of interface, using three-dimensional representations closer to the user's reality, thus allowing the breaking of the barrier between the screen that separates the user from the virtual environment, in addition to enabling more natural interactions. Through the use of specific equipment, users can enter the created virtual environment and interact with it as if they were in the physical environment.
It is common in music to say that the timbre is the color of the sound, but have you ever imagined if you could actually paint the sound? Sound waves have size, shape and their frequencies can be related to the frequencies of light, therefore, to colors. The SINESTETICA application will take place in a 360° virtual environment that serves as a “blank paper” for the composer to paint his music using brushes that are, in fact, timbres, sound waveforms. The painter/composer will execute his brushstrokes in the same way as an instrumentalist, dictating sound parameters such as frequency, attack and amplitude. The algorithms will consequently generate at the same time the shape, size and color relative to these sounds.
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