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Lecturer(s)
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Vlachynská Petra, MgA. Ph.D.
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Stolín Jan, doc. M.A.
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Course content
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Course Description The course focuses on digital sound synthesis and develops students' knowledge of digital technologies and their application in audiovisual creation. It covers both theoretical and practical skills in sampling, physical modeling, granular synthesis, and coding of sound synthesis. The course also includes projects aimed at designing interactive applications that connect technology with artistic practice. Students will learn how to use digital tools for composition, improvisation, and performance. The aim of the course is to teach students the theoretical and practical aspects of digital synthesis and sound design. By the end of the course, students will be able to create their own sound compositions, design interactive applications, and improvise using digital tools in live performances. Lecture Topics Introduction to Digital Synthesis - overview of basic principles of digital synthesis and its development. Sampling - techniques of working with sound samples, their editing and application in music creation. Physical Modeling (Virtual Synthesis) - explanation of physical modeling as a method of sound synthesis based on the simulation of real musical instruments. Emulation of Analog Instruments via Software - overview of software tools that replicate the function and sound of analog synthesizers. MIDI and Its Use in Digital Synthesis - analysis of the MIDI protocol and its applications in controlling sound and synthesis devices. Mixing and Sound Space (Mixer) - manipulation of sound signals, volume adjustment, panning, and other parameters. Granular Synthesis - decomposition of sound into small fragments (grains) and their recombination to create complex sounds. Coding of Sound Synthesis Using Audio Libraries - application of audio libraries and APIs for programming sound applications. Design of an Interactive Mini Audio Application (API) - project work aimed at creating a simple sound application with interactive elements. Arrangement and Composition in Digital Environment - techniques for creating music compositions using digital synthesis. Improvisation with Digital Tools - practical exercises in improvisation with digital synthesizers and sequencers. Live Performance and Digital Technologies - use of digital synthesis in live performances with digital instruments. Hybrid Synthesis (Combination of Analog and Digital Techniques) - connecting analog and digital methods for sound creation and composition. Final Project and Presentation - practical demonstration of student-designed and implemented audio works.
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Learning activities and teaching methods
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Lecture
- Class attendance
- 28 hours per semester
- Preparation for exam
- 30 hours per semester
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Learning outcomes
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Art has undergone a rapid development of forms during the 20th century; it uses a wide variety of media. This is gradually being reflected in official art in public space, whose importance has been increasing since the 1950s. The systematic promotion of art in public space is becoming a part of the policies of cities and states. The spread of art in public space activates a critical reflection among theoreticians, artists, and architects. The course focuses on a comprehensive grasp of the issue of creation in public space. The main aim of the course is to outline the development of overlaps between art, urbanism, architecture, cultural policy, and social themes during the 20th and 21st centuries, with an emphasis on critical theory. Attention will be paid both to the historical development in an interdisciplinary context and to some current problems and tendencies. Through semestral tasks, the aesthetic-spatial, political and social aspects of working with public space will be discussed together with an emphasis on the architectural and urban context. The course includes lectures, meetings with guests, art walks in Liberec and Prague, and presentations of students' individual works.
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Prerequisites
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unspecified
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Assessment methods and criteria
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Combined examination
Regular attendance at lectures and excursions, unassisted elaboration of public space design at recommended or selected locations, two consultations with lecturer during the semester.
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Recommended literature
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Alberti, J.B.:. Deset knih o stavitelství. SNTL Praha, 1956.
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Alexander, A., Blake, S.:. Institutional Critique. An Antrology of Artists´Writing. Cambridge, 2009.
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Bartlová, A.:. Manuál Monumentu. Praha UMPRUM, 2016.
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Carmona, M.:. Public Spaces Urban Places. Oxon Routledge, 2011. ISBN 978-1138067783.
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Cartiere, C., Willis, S.:. The Practice of Public. New York, Routledge, 2008. ISBN 978-0415878395.
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Císař, K.:. Stav věci. Dům umění města Brna, 2011.
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Ghel, J.:. Život mezi budovami. Brno Nadace Partnerství, 2000.
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Hildebrant, A.:. Problém formy ve výtvarném umění. Praha Triáda, 2004.
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Hirsch, N., Miessen, M.:. Critical Spatial Practice #01 - What Is Critical Spatial Practice?. (Berlin: Sternberg Press, 2012.
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Jehlík, J.:. Rukověť urbanismu. Praha Ausdruck Books, 2016. ISBN 978-80-260-9558-3.
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Karous, P.:. Vetřelci a volavky. Praha Arbor Vitae, 2013.
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Mitášová, M.:. Oxymorón a pleonasmus.
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Raugin, G., Gene, R.:. Art and Contemporary Critical Practice: Reinventing Institutional Critique..
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