arXiv subjects
Publications and source records attributed to Alain Bonardi.
Traditional staging is based on a formal approach of similarity leaning on dramaturgical ontologies and instanciation variations. Inspired by interactive data mining, that suggests different approaches, we give an overview of computer science and theater researches using computers as partners of the actor to escape the a priori specification of roles.
In this paper we present the new genre of interactive operas implemented on personal computers. They differ from traditional ones not only because they are virtual, but mainly because they offer to composers and listeners new perspectives of combinations and interactions between music, text and visual aspects.
Out of the scope of the usual positions of computing in the field of music and musicology, one notices the emergence of human-computer systems that do exist by breaking off. Though these singular systems take effect in the usual fields of expansion of music, they do not make any systematic reference to known musicological categories. On the contrary, they make possible experiments that open uses where listening, composition and musical transmission get merged in a gesture sometimes named as ?music-ripping?. We will show in which way the music-ripping practices provoke traditional musicology, whose canonical categories happen to be ineffectual to explain here. To achieve that purpose, we shall need: - to make explicit a minimal set of categories that is sufficient to underlie the usual models of computer assisted music;- to do the same for human-computer systems (anti-musicological?) that disturb us; - to examine the possibility conditions of reduction of the second set to the first; - to conclude on the nature of music-ripping.
In this article, we present the interactive opera project on CD-ROM Virtualis. This project includes a scientific dimension as well as artistic. It gave us the opportunity to design a model of the opera performance using formalisms from organization sciences. Moreover, our investigation on interactions between a user and opera contents led us to use models of relationships between entities based on physical forces, where the user is in a way absent. We detail some aspects of a reading but also writing environment on artistic complex contents between text, music and graphics.