Whilst the majority of research and practice in the field of augmented reality (AR) concerns supp... more Whilst the majority of research and practice in the field of augmented reality (AR) concerns supplementing visible reality with virtual imagery, the concept of AR is not limited to such. What augments and is being augmented can be aural. This paper explores this alternative, providing an introduction to what is termed here 'aural augmented reality' (AAR). This paper includes a definition of AAR as well as a summary of the major research and practice in this area, which is presented under three headings: modes of delivery, positioning methods, and creative application. For the latter, music and sound art practices not previously linked to AR are introduced. The main motives for doing so are to raise the stature of AAR, advance its methods and provide a theoretical grounding.
Sound technologies, particularly mobile and locative media technologies, can provide unique liste... more Sound technologies, particularly mobile and locative media technologies, can provide unique listening experiences within situations that are not themselves exclusive zones for sonic projection, meditation or exploration. This paper seeks to contribute to the understanding of locative sound design by presenting a framework consisting of three spatial archetypes: the Theatre, the Museum and the City. These serve as metaphors through which we can articulate different types of relations between listener, sound and place. The Mobile Music Player has been chosen as an example of a listening condition that both characterises and traverses the Theatre, the Museum and the City listening archetypes.
This thesis chronicles the practical and theoretical research that has been undertaken in conjunc... more This thesis chronicles the practical and theoretical research that has been undertaken in conjunction with, and in support of, the creation of a portfolio of original works. The portfolio comprises five works of sound art: two are sound installations, and three are what I call ‘mobile sound walks’. All five works are site-specific, meaning that they have been designed for a specific space, in response to a specific social and environmental context, and take into account the cultural, historic and political significance of the hosting site.
The first half of this thesis is dedicated to an in-depth discussion of the work of six artists with whom I align my own creative practice. These include the composers Pierre Schaeffer, Luc Ferrari and R. Murray Schafer, who are noted for their use of everyday sounds as compositional material; the sound installation artists Max Neuhaus and Bill Fontana, who create site-specific, environmental sound art works; and Janet Cardiff, a pioneer of mobile sound art.
In the second half of this thesis I provide a detailed analysis of my own work, with a particular focus on my mobile sound walks, which use location-aware technologies as a means to map sounds across a landscape. Such technologies have received little attention through existing sound art discourses. This thesis addresses this lack, by offering conceptual perspectives and methodological tools for understanding and producing what I call ‘locative soundscape composition’.
Throughout this thesis I draw upon a range of critical theories and methodologies both from within, and from outside of, sound art studies, which help to shed new light on sound as it relates to, for example, the city, the politics of everyday life, the production of space and place, and the relationships between site-specific art, urban environments, and social actors.
Whilst the majority of research and practice in the field of augmented reality (AR) concerns supp... more Whilst the majority of research and practice in the field of augmented reality (AR) concerns supplementing visible reality with virtual imagery, the concept of AR is not limited to such. What augments and is being augmented can be aural. This paper explores this alternative, providing an introduction to what is termed here 'aural augmented reality' (AAR). This paper includes a definition of AAR as well as a summary of the major research and practice in this area, which is presented under three headings: modes of delivery, positioning methods, and creative application. For the latter, music and sound art practices not previously linked to AR are introduced. The main motives for doing so are to raise the stature of AAR, advance its methods and provide a theoretical grounding.
Sound technologies, particularly mobile and locative media technologies, can provide unique liste... more Sound technologies, particularly mobile and locative media technologies, can provide unique listening experiences within situations that are not themselves exclusive zones for sonic projection, meditation or exploration. This paper seeks to contribute to the understanding of locative sound design by presenting a framework consisting of three spatial archetypes: the Theatre, the Museum and the City. These serve as metaphors through which we can articulate different types of relations between listener, sound and place. The Mobile Music Player has been chosen as an example of a listening condition that both characterises and traverses the Theatre, the Museum and the City listening archetypes.
This thesis chronicles the practical and theoretical research that has been undertaken in conjunc... more This thesis chronicles the practical and theoretical research that has been undertaken in conjunction with, and in support of, the creation of a portfolio of original works. The portfolio comprises five works of sound art: two are sound installations, and three are what I call ‘mobile sound walks’. All five works are site-specific, meaning that they have been designed for a specific space, in response to a specific social and environmental context, and take into account the cultural, historic and political significance of the hosting site.
The first half of this thesis is dedicated to an in-depth discussion of the work of six artists with whom I align my own creative practice. These include the composers Pierre Schaeffer, Luc Ferrari and R. Murray Schafer, who are noted for their use of everyday sounds as compositional material; the sound installation artists Max Neuhaus and Bill Fontana, who create site-specific, environmental sound art works; and Janet Cardiff, a pioneer of mobile sound art.
In the second half of this thesis I provide a detailed analysis of my own work, with a particular focus on my mobile sound walks, which use location-aware technologies as a means to map sounds across a landscape. Such technologies have received little attention through existing sound art discourses. This thesis addresses this lack, by offering conceptual perspectives and methodological tools for understanding and producing what I call ‘locative soundscape composition’.
Throughout this thesis I draw upon a range of critical theories and methodologies both from within, and from outside of, sound art studies, which help to shed new light on sound as it relates to, for example, the city, the politics of everyday life, the production of space and place, and the relationships between site-specific art, urban environments, and social actors.
Uploads
Papers by Dr Matt Green
The first half of this thesis is dedicated to an in-depth discussion of the work of six artists with whom I align my own creative practice. These include the composers Pierre Schaeffer, Luc Ferrari and R. Murray Schafer, who are noted for their use of everyday sounds as compositional material; the sound installation artists Max Neuhaus and Bill Fontana, who create site-specific, environmental sound art works; and Janet Cardiff, a pioneer of mobile sound art.
In the second half of this thesis I provide a detailed analysis of my own work, with a particular focus on my mobile sound walks, which use location-aware technologies as a means to map sounds across a landscape. Such technologies have received little attention through existing sound art discourses. This thesis addresses this lack, by offering conceptual perspectives and methodological tools for understanding and producing what I call ‘locative soundscape composition’.
Throughout this thesis I draw upon a range of critical theories and methodologies both from within, and from outside of, sound art studies, which help to shed new light on sound as it relates to, for example, the city, the politics of everyday life, the production of space and place, and the relationships between site-specific art, urban environments, and social actors.
The first half of this thesis is dedicated to an in-depth discussion of the work of six artists with whom I align my own creative practice. These include the composers Pierre Schaeffer, Luc Ferrari and R. Murray Schafer, who are noted for their use of everyday sounds as compositional material; the sound installation artists Max Neuhaus and Bill Fontana, who create site-specific, environmental sound art works; and Janet Cardiff, a pioneer of mobile sound art.
In the second half of this thesis I provide a detailed analysis of my own work, with a particular focus on my mobile sound walks, which use location-aware technologies as a means to map sounds across a landscape. Such technologies have received little attention through existing sound art discourses. This thesis addresses this lack, by offering conceptual perspectives and methodological tools for understanding and producing what I call ‘locative soundscape composition’.
Throughout this thesis I draw upon a range of critical theories and methodologies both from within, and from outside of, sound art studies, which help to shed new light on sound as it relates to, for example, the city, the politics of everyday life, the production of space and place, and the relationships between site-specific art, urban environments, and social actors.