{"id":{"repo_id":"auckland-tech","oai_identifier":"oai:openrepository.aut.ac.nz:10292/11239"},"canonical_url":"https://search.dev.ndltd.org/etd/auckland-tech/oai:openrepository.aut.ac.nz:10292/11239","repository":{"repo_id":"auckland-tech","name":"AUT University","base_url":"https://openrepository.aut.ac.nz/server/oai/request"},"display":{"title":"Composer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You'","abstract":"In her introduction to Artificial Hells, Claire Bishop defines participation in art as that, “… in which people constitute the central artistic medium and material, in the manner of theatre and performance”. It is interesting then to consider whether artworks are things in and of themselves, or if they only actually exist as art in terms of the relationships they have with their audience; perhaps only in terms of the roles performed by the audience as they enter into discourse with the presented situations. The set of work presented here seeks to research these notions along with the idea of where things sit on the spectrum of “closed” or “open” works as suggested by Umberto Eco, and the idea of art as inherent autobiographical trace.","abstract_html":"In her introduction to Artificial Hells, Claire Bishop defines participation in art as that, “… in which people constitute the central artistic medium and material, in the manner of theatre and performance”. It is interesting then to consider whether artworks are things in and of themselves, or if they only actually exist as art in terms of the relationships they have with their audience; perhaps only in terms of the roles performed by the audience as they enter into discourse with the presented situations. The set of work presented here seeks to research these notions along with the idea of where things sit on the spectrum of “closed” or “open” works as suggested by Umberto Eco, and the idea of art as inherent autobiographical trace.","abstract_has_math":false,"creators":["Woods, Colin"],"institution":"Auckland University of Technology","degree_name":"Master of Creative Technologies","degree_level":"Masters Theses","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Watkins, Clinton","Charlton, James"],"committee_chairs":[],"committee_members":[],"year":2018,"date_issued":"2018","date_published":"2018","updated_at":"2026-08-21T16:42:05Z","subjects":["Sonic art","Art","Sound","Creative technology","Participatory art","Interactive art"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10292/11239","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"source_record":{"url":"https://openrepository.aut.ac.nz/server/oai/request?verb=GetRecord&metadataPrefix=dim&identifier=oai%3Aopenrepository.aut.ac.nz%3A10292%2F11239","prefix":"dim"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Watkins, Clinton","Charlton, James"]},{"key":"dc:creator","label":"Author","values":["Woods, Colin"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2018-02-13T00:25:01Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2018-02-13T00:25:01Z"]},{"key":"dc:date.issued","label":"Date","values":["2018"]},{"key":"dc:publisher","label":"Institution","values":["Auckland University of Technology"]},{"key":"dc:type","label":"Dc Type","values":["Exegesis"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters Theses"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Creative Technologies"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Auckland University of Technology"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Sonic art","Art","Sound","Creative technology","Participatory art","Interactive art"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10292/11239"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["In her introduction to Artificial Hells, Claire Bishop defines participation in art as that, “… in which people constitute the central artistic medium and material, in the manner of theatre and performance”. 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The set of work presented here seeks to research these notions along with the idea of where things sit on the spectrum of “closed” or “open” works as suggested by Umberto Eco, and the idea of art as inherent autobiographical trace."],"dc:identifier.uri":["https://hdl.handle.net/10292/11239"],"dc:language.iso":["en"],"dc:publisher":["Auckland University of Technology"],"dc:subject":["Sonic art","Art","Sound","Creative technology","Participatory art","Interactive art"],"dc:title":["Composer/performer/observer singularity in the context of an interactive sound installation: An exegesis to accompany works in the exhibition 'It's for You'"],"dc:type":["Exegesis"],"thesis:degree_level":["Masters Theses"],"thesis:degree_name":["Master of Creative Technologies"],"thesis:institution_name":["Auckland University of Technology"]},"updated_at":"2026-08-21T16:42:05Z"}