If there is one idea that unites the manifold and often evasive conceptions of materialism, it is the immanence of form. Materialism, thus conceived, is the idea that matter is not shaped into form by something external to it, but rather itself harbours formal potential. Aesthetic, musical, biological, physical, and social forms can be understood as the product of emergent material processes. They can be conceived as contingent encounters that have taken form. Such a notion of materialist morphogenesis challenges anthropocentric assumptions about the nature of creative processes, relinquishing the idea of artistic practice as mastery over the material. This article focuses on compositional approaches to sound that explore the emergent material generation of form. It proposes a notion of materiality as a non-monist, non-hierarchical, and unpredictable interaction of different temporal, material, spatial and conceptual levels. By discussing works by Georges Aperghis, Helmut Lachenmann, Ashley Fure, and Aaron Cassidy, it deals with ways in which compositional practices, understood as situated and relational explorations of material potentials, embrace material contingency and the emergence of form.

中文翻译：

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构成材料的重要性、偶然性和出现

如果说有一种观念能将物质主义的多方面且常常回避的概念统一起来，那就是形式的内在性。因此，唯物主义是这样一种观点，即物质不是由外部事物塑造成形式，而是本身具有形式潜力。审美的、音乐的、生物的、物理的和社会的形式可以被理解为涌现的物质过程的产物。它们可以被视为已经形成的偶然相遇。这种唯物主义形态发生的概念挑战了关于创作过程本质的以人类为中心的假设，放弃了艺术实践作为对材料的掌握的想法。本文重点介绍声音的组合方法，探索形式的新兴材料生成。它提出了一种物质性的概念，即非一元论、非等级、以及不同时间、物质、空间和概念层面的不可预测的相互作用。通过讨论 Georges Aperghis、Helmut Lachenmann、Ashley Fure 和 Aaron Cassidy 的作品，它探讨了组合实践的方式，被理解为对物质潜力的情境和关系探索，包括物质偶然性和形式的出现。