This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.

中文翻译：

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Acousmatic-Creationism：受智利诗人 Vicente Huidobro 美学理论启发的原声音乐创作方法

本文汇集和总结了作者博士论文“声音和诗歌作为原声音乐的灵感和材料”中提出的主要观点，并描述了他基于智利诗人维森特·惠多布罗的美学理论的独特的原声作曲方法，这是一个系统其目的是通过从现实中获取材料并以意想不到的方式将它们组合起来来创作艺术作品。这种结合的目的是在理性和直觉之间取得平衡，以便获得一首独立于现实世界的诗歌，在避免传统模仿的诗歌结果的意义上。这个创意系统，被称为创意主义，在通知作者创作过程的各种其他理论、艺术和主要诗歌资源之间发挥着核心作用。Huidobro 的创意系统已被作者应用到声学合成程序中，从而产生了声学-创造论者作为过程的命名法。这种特殊的创作策略在声学创作中平衡了理性和直觉，并将诗歌作为声音使用的驱动力，将艺术实践和理论融合到递归动作中。