LABS

Potentials of Data Sonification in Visual Art by Tobias Hildebrandt

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Leonardo Abstract Services (LABS) 2010-2011
Potentials of Data Sonification in Visual Art: Sonifying the compArt Database

Data sonification, the presentation of data using sound, is gaining more and more importance in various academic fields and disciplines. However, most sonifications so far base on quantitative data, often from the natural sciences. Therefore, this paper tries to find out which sonification techniques and methods are suitable to represent art historical data. While data that is typically being used for data sonification is often multi-dimensional and numerical, data from the domain of art history is usually non-numerical, relational and hierarchical.

An interactive GUI-based prototype has been developed on the basis of the compArt database for early computer art in order to verify the suitability of the proposed methods and techniques. This prototype bases on parameterized earcons with the outcome that, however with restrictions, the proposed methods are suitable to sonify data from the domain of art history. However it is suggested to conduct further experimentation using parameterized auditory icons to find out if they yield better results.

Degree: M.Sc.
Year: 2011
Pages: 70
University: University of Bremen
Supervisor: Prof. Dr. Frieder Nake
Semail: nake@informatik.uni-bremen.de
Supervisor 2: Prof. Dr. Andrea Sick
Language: English
Dept: Computer Science/Digital Media
Copyright: Tobias Hildebrandt
Lang_author: English, German, Spanish
Url:
Email: Tobias_Hildebrandt@gmx.de
Keywords: Sonification, Auditory Display, Art History
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Lanfranco Aceti is known for his social activism and extensive career as artist, curator, and academic. He is a research affiliate and visiting professor at ACT @ Massachusetts Institute of Technology and director of the Arts Administration Program at Boston University. He is also the Editor in Chief of the Leonardo Electronic Almanac, The MIT Press. He has exhibited numerous personal projects including Car Park, a public performance in the UK at the John Hansard Gallery; Who The People?, an installation artwork acquired in its entirety by the Chetham’s Library and Museum in Manchester; Sowing and Reaping, installation artworks acquired in their entirety by the National Museum of Contemporary Art of Cyprus; and Hope Coming On, a site-specific choral performance he designed for the Museum of Fine Arts, Boston, with the collaboration of the Boston Children’s Chorus, and realized in front of Turner’s Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). In 2017, Aceti prepared a series of new artworks for an exhibition entitled Shimmer and curated by Irini Papadimitriou (V&A) at the Tobazi Mansion in Hydra, a new large choral performance titled Accursed for the Thessaloniki Biennial in Greece; and Knock, Knock, Knocking a public space installation in the Mediterranean Garden Pavilion of the New Sea Waterfront of Thessaloniki.