Opera for web and mobile media (2015-2019) [multi-component output with contextualising information]
- Submitting institution
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Bath Spa University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 3323
- Type
- Q - Digital or visual media
- Publisher
- -
- Month
- -
- Year
- 2015
- URL
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https://doi.org/10.17870/bathspa.c.4790337
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘Opera for Web and Mobile Media’ offers a culturally novel apprehension of opera that extends the art form into web and mobile media. The project’s outputs comprise two practice-as-research productions – The Village (2015), which explores how an entirely mediated opera advances a sense of ‘now-ness’ through several devices – and Fragments (2017), which extends this enquiry by treating the city of Bath as operatic mise-en-scène, facilitating a situation where the opera’s music and the city’s activity intermingle to provide new meanings based on environment. Contextual information comprises video walkthroughs, accompanying music and artwork, academic conference contributions and a research timeline.
Methodologically, The Village is evaluated using mixed-methods research, with insights into the perceived quality of the opera and the effectiveness of liveness devices collected through an online visitor questionnaire and a custom embedded-data capture system. The work was viewed by over 1900 individuals across the world, and visitors acknowledged the devices, which for some made the opera feel “current and alive”. Fragments, meanwhile, develops new experimental approaches for how live sound capture, binaural audio and location-based technologies can create mobile storytelling experiences that place the virtual and the physical world in dialogue – a concept that I term ‘domain blending’.
Indeed, ‘Opera for Web and Mobile Media’ contributes new knowledge and creative approaches to the emerging field of ‘digital opera’ (Sheil and Vear 2012; Hugill et al. 2014). Specifically, Scott’s work has defined and characterised a sub-set of entirely mediated operatic works termed ‘opera for computing platforms’. The works demonstrate a means of transforming the traditional opera form – image (visual production), sound (music) and text (libretto) – through the lens of digital creativity, deploying concepts such as non-linearity, user/audience participation, virtual scenography and headphone-targeted music to reimagine the operatic form in a contemporary context.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
