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‘To Explore the World of Sound’: Music, silence and nation-building in Bing Bang Boom (1969) Organised Sound (IF 0.2) Pub Date : 2024-06-05 Gayle Magee
The National Film Board documentary Bing Bang Boom (1969) depicts Canadian composer R. Murray Schafer (1933–2021) teaching seventh-grade students in a suburban public school in Scarborough, Ontario. A close study of the film informs the larger trajectory of the composer’s previous and later writings and compositions over the next several decades, while a deeper dive into archival materials and concurrent
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Dissident Sounds: Electronic music in Venezuela from the notions of radical education Organised Sound (IF 0.2) Pub Date : 2024-05-03 Luis Pérez-Valero
Based on the theories of radical education, this article discusses the education of electronic music in Venezuela. After a historiographical review of the state of music education in the country, which shows that there is little information on the subject, the institutional life that has promoted electroacoustic music in Venezuela is approached from a critical perspective. This documentary research
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Radioatelier: Czech radio space for acoustic art 2003–2022 Organised Sound (IF 0.2) Pub Date : 2024-03-20 Michal Rataj
In 2003, a new radio programme called Radioatelier was launched as part of the Czech Radio 3 – Vltava broadcast, the national public service art channel. It was aimed at presenting experimental radio forms, something completely unprecedented at that time. With 213 new commissions by December 2022, the programme entered its third decade of existence, having won a number of major radio art awards, while
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An Art of the Radio: Musique concrète and mass culture, 1941–1952 Organised Sound (IF 0.2) Pub Date : 2024-03-15 Sam Ridout
This article attends to the emergence of musique concrète as a theoretical object in Pierre Schaeffer’s writing between 1941 and 1952, seeing it as the logical endpoint of Schaeffer’s quest for an art proper to the radio. In this strong sense of the word, art is here positioned in opposition to entertainment, and as such Schaeffer seeks to separate the properly radiophonic from the impure, mercenary
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Tangible Radio: Deaf studies and sound studies coalitions Organised Sound (IF 0.2) Pub Date : 2024-03-15 Dana Papachristou
As a medium for information, entertainment and communication, radio had taken precedence over television for decades, at least in terms of its accessibility in all households. Television and later the internet never completely annulled its aural condition, while its form altered to keep up with developments in terms of asynchrony or subject areas. Today it is considered the predominantly ‘cool medium’
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Weightless Infrastructures Organised Sound (IF 0.2) Pub Date : 2024-03-15 Kristoffer Raasted
Considered as an artistic medium, airwaves are not neutral, nor are they immaterial. The decision to broadcast is linked to the decision to activate electronic circuits. Radio holds both propagandistic and subversive potentials. But even the most experimental broad- or webcasts rely on electronic or digital technologies. Thus, responsible radio productions cannot shy away from a self-critical, and
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Ecomprovisation: Project Markarian 335 Organised Sound (IF 0.2) Pub Date : 2024-01-30 Luzilei Aliel, Ivan Simurra, Marcello Messina, Damián Keller
Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These conceptual frameworks inform the technological and aesthetic
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Diverse Sound Practices: An exploration of experimental electronic music in regional Australia Organised Sound (IF 0.2) Pub Date : 2024-01-25 Andrew R. Brown, Andy Bennett, John Ferguson, Catherine Strong
Examining the role of arts and culture in regional Australia often focuses on economic aspects within the creative industries. However, this perspective tends to disregard the value of unconventional practices and fails to recognise the influence of regional ecological settings and the well-being advantages experienced by amateur and hobbyist musicians who explore ubiquitous methods of music creation
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The Artist as a Subscription: Patching music as an artistic device Organised Sound (IF 0.2) Pub Date : 2024-01-08 Thomas McConville
This article aims to explore the concept of patched/versioned musical works as creative ecologies. It identifies how the internet’s involvement in music creation and dissemination influences choices related to the release of such works. Throughout this writing, the author looks at the increasingly volatile structures surrounding recorded music in the early twenty-first century as a result of streaming
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From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment Organised Sound (IF 0.2) Pub Date : 2023-12-06 Martin K. Koszolko, Thomas Studley
This article explores strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation. We outline our existing musical practice relying on site-specific sampling and digital mobile technologies that have been tested across a range of participatory music performances. Salient challenges within this performance context are identified and several
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Radio: An instrument in art – with reference to selected works by Polish artists Organised Sound (IF 0.2) Pub Date : 2023-11-24 Tomasz Misiak, Marcin Olejniczak
This article explores the role of the radio as an artistic instrument. It discusses both contemporary and historical art experiments, namely those where the sound of the radio or the form of radio reception is an important aspect of the final work. We examine the question, ‘What does it mean for a radio to be an instrument?’ And to clarify, we mean any kind of instrument, not just a musical one. To
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Reframing Sound Shapes in Spectromorphological Composition: Notating perspectival space through spherical, Euclidean and Cartesian-coordinate systems Organised Sound (IF 0.2) Pub Date : 2023-11-24 Tiernan Cross
This paper examines Smalley’s preliminary taxonomy of the sound shape and the subsequent application of graphical notation in electroacoustic music. It will demonstrate ways in which spatial categorisations of the morphological sound shape have remained relatively untouched in academia, despite a codependency of frequency, space and time. Theoretical examples and existing visualisations of the sound
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Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education Organised Sound (IF 0.2) Pub Date : 2023-11-20 Jesús Tejada, Adolf Murillo, José Manuel Berenguer
Acouscapes is a software designed as a simple educational solution for the creation of soundscapes and their use in the composition of soundscape music in primary and secondary education. The software has slots in which the user must place the sounds that will make up the desired soundscape, allowing them to make different soundwalks by interacting with the graphic interface. Acouscapes allows the
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On the Use of Field Recordings on Radio: A history of the beginnings Organised Sound (IF 0.2) Pub Date : 2023-11-20 Jean-Baptiste Masson
This article traces the history of the use and reception of field recordings on radio, in France and Britain, outside the categories considered as art or music such as hörspiel or musique concrète. It shows that radio producers had diverse reactions to the use of sonic ambiences recorded in the field. There was an opposition between a ‘Pure Sound School’, which promoted the use of field recordings
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A Phenomenological Approach to Wearable Technologies and Viscerality: From embodied interaction to biophysical music performance Organised Sound (IF 0.2) Pub Date : 2023-11-16 Andrea Giomi
During the past decade, embodied knowledge has provided novel important insights to rethink mediation technology, thereby paving the way for a transdisciplinary approach to wearable technologies. Stemming from a phenomenological-based approach and considering current trends in sonic interaction design, this article proposes an extensive account on embodied approaches to mediation technology and underlines
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Structuring Spectra in Electroacoustic Music Organised Sound (IF 0.2) Pub Date : 2023-10-11 Hubert Howe
This article describes the ways in which the spectra of electroacoustic music compositions can be structured coherently. It begins by describing the straightjacket that composers and listeners are constrained by when using the concept of ‘source bonding’ and how this needs to be discarded for effective listening. It then describes the concept of spectral merging and how ideas of musical timbre are
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Live Coding Patterns and a Toolkit for Pure Data Organised Sound (IF 0.2) Pub Date : 2023-09-04 Andrew R. Brown
Creative activities often involve specific processes and techniques that reflect the unique nature of the activity. For live coders, these processes and techniques can be expressed as algorithms and functions in live coding languages. In many fields, these idiomatic processes are referred to as design patterns. Design patterns are important to understand because they can structure thought and direct
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The Aesthetics of Musical Complex Systems Organised Sound (IF 0.2) Pub Date : 2023-08-22 Dario Sanfilippo
This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can
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Anatomical Intelligence: Live coding as performative dissection Organised Sound (IF 0.2) Pub Date : 2023-08-22 Joana Chicau, Jonathan Reus
This article describes the method of ‘dissective’ live coding, as developed through the artistic-research project Anatomies of Intelligence. In this work we investigate how live coding can be used as an approach for performative explorations of a data corpus and a machine learning algorithm operating on this corpus. The artistic framework of this project collides early Enlightenment-era anatomical
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Visual Representations to Stimulate New Musicking Strategies in Live Coding Organised Sound (IF 0.2) Pub Date : 2023-08-22 Raul Masu, Francesco Ardan Dal Rì
In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while
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Algorave Music Practice in Indonesia: Paguyuban Algorave Organised Sound (IF 0.2) Pub Date : 2023-08-18 Patrick Hartono, Stevie J. Sutanto
This article examines the creative practice of Algorave music in Indonesia, with a focus on the Paguyuban Algorave community based in Yogyakarta. The Algorave movement, which has gained international recognition in recent years, has been observed to amalgamate with local culture, which created a unique musical approach. The research presented in this article delves into the distinctive musical approach
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Live Coding and Music Production as Hybrid Practice Organised Sound (IF 0.2) Pub Date : 2023-08-18 Hussein Boon
This article discusses incorporating live coding as part of a new Foundation pathway for music production at a UK university that started in September 2022. The inclusion of live coding, using the application Sonic Pi, is situated alongside music production using a DAW, initially through the process of drum programming. The role of Sonic Pi is also to provide a means for producers to take their productions
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Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place Organised Sound (IF 0.2) Pub Date : 2023-08-18 Mattias Petersson
This article presents several scenarios in which a live coding environment called Paragraph was utilised to telematically play networked and geographically distributed hyperorgans. Situated within the framework of the Global Hyperorgan project, the TCP/Indeterminate Place Quartet have explored the affordances of the organ network through the concept of Tele-Copresence. By outsourcing certain dimensions
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On the Integration of Machine Agents into Live Coding Organised Sound (IF 0.2) Pub Date : 2023-08-18 Elizabeth Wilson, György Fazekas, Geraint Wiggins
Co-creation strategies for human–machine collaboration have recently been explored in various creative disciplines and more opportunities for human–machine collaborations are materialising. In this article, we outline how to augment musical live coding by considering how human live coders can effectively collaborate with a machine agent imbued with the ability to produce its own patterns of executable
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The Unknowing Side of the Algorithm: Decolonising live coding from Latin America Organised Sound (IF 0.2) Pub Date : 2023-08-15 Aldo Mauricio Lara Mendoza, Laura Viviana Zapata Cortés, Emre Dündar
In this article we discuss and critically analyse some colonial assumptions of live coding from the Global North in contrast to the practice of live coding in Latin America (LATAM). To do so, we first look at different colonial problems that arise from different contemporary approaches. This results in a recommendation to consider more complex conditions of power that exist in the Global South and
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Discovering Creative Commons Sounds in Live Coding Organised Sound (IF 0.2) Pub Date : 2023-08-14 Anna Xambó Sedó
This article reports on a study to identify the new sonic challenges and opportunities for live coders, computer musicians and sonic artists using MIRLCa, a live-coding environment powered by an artificial intelligence (AI) system. MIRLCa works as a customisable worldwide sampler, with sounds retrieved from the collective online Creative Commons (CC) database Freesound. The live-coding environment
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Live Coding Outside, Live Coding Inside: Listening, participation and walking Organised Sound (IF 0.2) Pub Date : 2023-08-14 Hernani Villaseñor-Ramírez
This article is a text on the encounter of live coding with soundscape, soundart installation and soundwalking. This combination involves leaving the studio or a stage for live coding outside or moving to a participatory event inside a gallery, as in the case of an art installation. The article presents four cases of live coders and artists who have worked with this mixture. To understand how these
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Live Coding Poetry: The narrative of code in a hybrid musical/poetic context Organised Sound (IF 0.2) Pub Date : 2023-08-14 Alexandros Drymonitis
Live coding is a celebrated practice that is used in many areas, combined with a variety of artistic fields. Code poetry is a form of poetry with many variations, all of which have a common rule: the code that is or produces the poem must compile without errors. The meeting point of live coding and code poetry seems to have not yet been thoroughly explored, leaving space for experimentation and research
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Livecoderas Latinoamericanas: Diversity, educational access and musicking networks in live coding in Latin America Organised Sound (IF 0.2) Pub Date : 2023-08-14 Emma Wilde, Mario Alberto Duarte-García
Live coding in Latin America has always been tied to educational access concerns and has been disseminated through the region by way of free workshops offered outside of academic institutions. Although there is significant live coding activity in Latin America, live coding outside of the European context has been little explored. We interviewed 11 female practitioners active in live coding nodes in
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Musical Live Coding in Relation to Interactivity Variations Organised Sound (IF 0.2) Pub Date : 2023-08-11 Georgios Diapoulis
This article explores the similarities and differences between live coding and traditional music performances. The focus is on how bodily movements are expressed and whether pre-reflective processes may be activated during a live coding performance. While reports from practitioners vary on percepts of embodiment, the community is missing a theoretical background that reflects on practice. Understanding
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Agent-Based Music Live Coding: Sonic adventures in 2D Organised Sound (IF 0.2) Pub Date : 2023-08-09 Gerard Roma
This article describes agent-based music live coding, an approach for music performance and composition based on programming a set of agents in a 2D plane. This style of programming draws from the tradition of agent-based models and facilitates interactive algorithmic control of data-driven sound synthesis methods such as wave terrain synthesis or corpus-based concatenative synthesis. The main elements
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Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process Organised Sound (IF 0.2) Pub Date : 2023-08-01 Philon Nguyen, Eldad Tsabary
Since the 1980s, deconstruction has become a popular approach for designing architecture. In music, however, the term has not been absorbed as well by the related literature, with a few exceptions. In this article, ways to find ideological groundings for deconstructivism in music are introduced through the concepts of enchaînement and reconstruction paradoxes. Similar to the Banach–Tarski paradox in
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Debris: Machine learning, archive archaeology, digital audio waste Organised Sound (IF 0.2) Pub Date : 2023-06-30 Roberto Alonso Trillo, Marek Poliks
This article fragments and processes Debris, a project developed to formalise the creative recycling of digital audio byproducts. Debris began as an open call for electronic compositions that take as their point of departure gigabytes of audio material generated through training and calibrating Demiurge, an audio synthesis platform driven by machine learning. The Debris project led us down rabbitholes
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Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, variation and re-contextualisation of sound Organised Sound (IF 0.2) Pub Date : 2023-06-21 Marina Sudo
Ryoji Ikeda’s sonic composition has often been considered to prioritise a physical, immersive experience of space over temporal musical progression. This article challenges this commonly held view, arguing that the static nature of his work should be understood in terms of complex interactions between space and time rather than in dualistic terms. By analysing a large-scale sonic transformation within
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Flexibility Conceiving Relationships between Timbres Revealed by Network Analysis Organised Sound (IF 0.2) Pub Date : 2023-06-19 Roger T. Dean, Felix Dobrowohl, Yvonne Leung
Perceived relationships between timbres are critical in electroacoustic music. Most studies assume timbres have fixed inter-relationships, but we tested whether distinct tasks change these. Thirty short sounds were used, from five categories: acoustic instruments, impulse responses, convolutions of the preceding, environmental sounds and computer-manipulated instrumental sounds. In Task 1, 46 non-musicians
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Group Performance Paradigms in Free Improvisation Organised Sound (IF 0.2) Pub Date : 2023-04-17 James Andean
This article proposes four paradigms of group performance in free improvisation: 1) sound composition; 2) social communication; 3) ‘parallel play’; and 4) ‘one beast with many heads’. While these paradigms are identifiably different, they are often engaged flexibly and/or in combination; and, importantly, it is very possible for the same performance to be experienced or interpreted by different performers
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New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium Organised Sound (IF 0.2) Pub Date : 2023-04-17 Luigi Marino
Two improvisation scenes emerged in the late 1990s – Echtzeitmusik in Berlin, and in London the New London Silence – with similarities in aesthetic and approach. Among these is a tendency towards a more silent and less responsive style of improvising often referred to as reductionism, and the inclusion of electronic resources, with a complex interaction between the two. This article introduces these
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Electroacoustic Improvisation and the Metaphysical Imaginary Organised Sound (IF 0.2) Pub Date : 2023-04-17 Matthew James Noone
In a previous edition of Organised Sound, I discussed the potential for using the North Indian sarode in electroacoustic music. In that article, I explored how electroacoustic music artists manage to integrate multiple cultural frameworks, while also acknowledging the importance of personal artistic agency. The primary question that emerged from that research is extended in this article: how does an
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Peter Manning 1948–2022 Organised Sound (IF 0.2) Pub Date : 2023-04-17 Michael Clarke, Frédéric Dufeu, Barry Truax
Peter Manning first established an international reputation with his book Electronic and Computer Music, originally published by Oxford University Press in 1985 and now in its fourth edition (Manning 2004). The book presents a detailed account of the technical and creative evolution of electronic music from its earliest days. Starting from Thaddeus Cahill’s 1897 patent application for the Dynamophone
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Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama Organised Sound (IF 0.2) Pub Date : 2023-01-18 Lauri Hyvärinen
This article will examine the music of two improvisation scenes – Seoul’s ‘Dotolim’ and Tokyo’s onkyô – with a particular focus on their use of gesture and texture. The article centres on an analysis of a trio performance by Jin Sangtae, Hong Chulki and Tetuzi Akiyama, which effectively brings these two musical communities together in a collaborative performance. This analysis demonstrates that focusing
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Weak Interactions, Strong Bonds: Live electronics as a complex system Organised Sound (IF 0.2) Pub Date : 2023-01-16 Oded Ben-Tal
This article examines works for live, interactive electronics from the perspective of complex dynamic systems, placing the human–computer interaction within a wider set of relationships. From this perspective, composing equates to constructing a complex system with the performer(s) and the computer as key players within a wider network of interdependence. Using the author’s own compositions as examples
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Sine Wave in Music and Sound Art: A typology of artistic approaches Organised Sound (IF 0.2) Pub Date : 2023-01-10 Nicolas Bernier, Guillaume Boutard, Caroline Traube, Estelle Schorpp, Laurent Bellemare, Victor Drouin-trempe
Despite the sine wave’s close links to the birth of electronic music in the mid-twentieth century, it has been little studied aesthetically, and no systematic review of its artistic usages exists. This article presents a brief literature review, followed by the results of a survey on the principles guiding sine wave-based works. This allows to put forward a typological framework contributing to an
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The Visual Representation of Timbre Organised Sound (IF 0.2) Pub Date : 2022-12-15 Mattias Sköld
This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics
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The Prisoner: A missing link in England’s history of electronic music Organised Sound (IF 0.2) Pub Date : 2022-12-12 Sam Gillies
This article documents the circumstances surrounding the composition of the soundtrack to the theatrical production of Bridget Boland’s The Prisoner in 1954. Roberto Gerhard’s soundtrack to The Prisoner is likely the first piece to utilise ensemble and magnetic tape, and as such potentially the first live performance of musique concrète in England, taking place a year before Gerhard’s significantly
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Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville Organised Sound (IF 0.2) Pub Date : 2022-09-27 Filipa Magalhães
This article discusses the compositional taxonomy of music theatre works by Constança Capdeville (1937–92) and offers a way to analyse her music and collaborative processes and also the performance of her work through a case study of the piece Double. Capdeville’s works include different elements such as music, settings (staging), movement, text, tape-recorded sound, visual image, props, costumes and
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Crafting the Language of Robotic Agents: A vision for electroacoustic music in human–robot interaction Organised Sound (IF 0.2) Pub Date : 2022-09-19 Frederic Anthony Robinson, Mari Velonaki, Oliver Bown
This article discusses the role of electroacoustic music practice in the context of human–robot interaction (HRI), illustrated by the first author’s work creating the sonic language of interactive robotic artwork Diamandini. It starts with a discussion of the role of sound in social robotics and surveys various notable conceptual approaches to robot sound. The central thesis of the article is that
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Experiencing Sound Installations: A conceptual framework Organised Sound (IF 0.2) Pub Date : 2022-09-16 Valérian Fraisse, Nicola Giannini, Catherine Guastavino, Guillaume Boutard
We propose a conceptual framework for describing and documenting sound installations from a visitor’s point of view. In the form of a taxonomy, the framework includes four complementary perspectives: sound sources, sound design approaches, visiting modalities and visual aspects. Its elaboration was informed by a review of contemporary sound installations in Quebec as well as a literature review on
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Neural Synthesis as a Methodology for Art-Anthropology in Contemporary Music Organised Sound (IF 0.2) Pub Date : 2022-09-16 Mark Dyer
This article investigates the use of machine learning within contemporary experimental music as a methodology for anthropology, as a transformational engagement that might shape knowing and feeling. In Midlands (2019), Sam Salem presents an (auto)ethnographical account of his relationship to the city of Derby, UK. By deriving musical materials from audio generated by the deep neural network WaveNet
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Material Media Sonification: Sounding the visibly present artefact Organised Sound (IF 0.2) Pub Date : 2022-09-15 Paul Dunham, Mo H. Zareei, Dugal McKinnon, Dale Carnegie
The fields of media archaeology and data sonification have not been without contestation regarding means and methods. However, in combination, these fields present an opportunity for a novel approach to the creation of media archaeologically informed sound-based art. This article discusses the artistic use of data sonification techniques and the need to balance the musification of data while maintaining
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Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction Organised Sound (IF 0.2) Pub Date : 2022-09-02 Ivan Simurra, Marcello Messina, Luzilei Aliel, Damián Keller
This paper explores participatory and socially engaged practices in ubiquitous music (ubimus). We discuss recent advances that target timbre as their focus while incorporating semantic strategies for knowledge transfer among participants. Creative Semantic Anchoring (ASC from the original in Portuguese) is a creative-action metaphor that shows promising preliminary results in collaborative asynchronous
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Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music Organised Sound (IF 0.2) Pub Date : 2022-08-22 Dylan Davis
This article discusses the use of an accessible visual notation system that represents the melodic component of an electronic music composition in acid house music, based on programming the Roland TB-303 bassline synthesiser’s sequencer. This notation system can be used for sharing, composition, collaboration and archival purposes. This system is called an acid pattern. The article analyses a variety
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Thirty Years of Sound Hacking: From freeware to Eurorack Organised Sound (IF 0.2) Pub Date : 2022-08-22 Tom Erbe
For slightly more than 30 years I have been developing audio software and hardware under the moniker soundhack. Through these years I have programmed applications, plugins, externals, hardware and Eurorack modules – usually focusing on signal processing techniques and applications that are not easily available or offered by mainstream software companies. In this article, I would like to share my point
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Tom Erbe Interviewed by Theodore Gordon Organised Sound (IF 0.2) Pub Date : 2022-08-22 Tom Erbe, Theodore Gordon
In this interview, Tom Erbe reflects on his three decades as a developer of computer music software and hardware, both freeware and commercial. Tom met with Theodore Gordon on 8 December 2021 and discussed the beginnings of SoundHack and its roots in experimental music studio practice and hacker culture, ideas behind the design of sound processor interface and the shift from experimental software development
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Lo-fi Today Organised Sound (IF 0.2) Pub Date : 2022-08-22 Adam Scott Neal
This article investigates two current incarnations of ‘lo-fi’ music and questions the extent to which these subgenres are actually low in fidelity. In essence, mainstream ‘hi-fi’ productions use similar effects, such as filtering to sound like a radio or adding noise to sound like a vinyl record. To understand lo-fi today, this article explores music by a lo-fi hip-hop producer and a lo-fi ambient
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A Sound Artist’s Breakdown of Field Recording over History Organised Sound (IF 0.2) Pub Date : 2022-08-22 Maria Chavez, Kristina Warren
The conceptual sound artist, turntablist, and curator Maria Chavez muses about storing and accessing sounds. Building on Ursula Le Guin’s concept of the carrier bag, she describes four eras of sound recording and containment.
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The Modular Journey: Uncovering analogue aesthetics in digital landscapes Organised Sound (IF 0.2) Pub Date : 2022-08-22 Andreas Kitzmann, Claes Thorén
This article draws on a practice theory perspective to investigate instances of sound practice in a particular community of technology use by focusing on the community and product offerings in and around contemporary modular synthesisers and their growing popularity in the ‘Eurorack’ format in order to investigate the attraction and allure of analogue things in a digital age. This article identifies
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‘We Cross Examine with Old Sonic DNA’: King Britt and Tara Rodgers in conversation on Blacktronika, music technology and pedagogy Organised Sound (IF 0.2) Pub Date : 2022-08-22 King Britt, Tara Rodgers
Composers, producers and educators King Britt and Tara Rodgers discuss music technology history and pedagogy in the context of King Britt’s Blacktronika course at the University of California San Diego, which researches and celebrates Black artists and other artists of colour who are pioneers of electronic music genres. Conducted over email in June 2021, this interview also touches on King Britt’s
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Pop Materialising: Layers and topological space in digital pop music Organised Sound (IF 0.2) Pub Date : 2022-08-22 Anders Reuter
This article argues that pop music’s increasing assimilation of hip-hop and EDM (electronic dance music) practices combine with computational automation and this has substantial consequences for musical space. Traditional ‘space-makers’ such as reverb or delay are subject to other functions such as frequency filters and compression that interrelate processual layers of textures. Instead of an acti
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The Topological Model in the Works of Yuasa Jōji Organised Sound (IF 0.2) Pub Date : 2022-08-22 Escande Marin
The oeuvre of Japanese composer Yuasa Jōji holds a singular place in the contemporary musical landscape. From the artist collective Jikken Kōbō, in which he took part during the 1950s, to his later pieces for large orchestra, and through his innovative electroacoustic and mixed-music, Yuasa single-handedly explored a vast number of musical issues across the twentieth century. This article aims to shed
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Ecologies of Sound with Regard to Arrhythmia Organised Sound (IF 0.2) Pub Date : 2022-08-22 Carmen Pardo-Salgado
The most recent practices in sound art have emerged as pre-eminent spaces in which to question the interaction of sound with its environment. Accordingly, in this article, I envisage Arrhythmia, the sound installation by Bosch and Simons with Kostyrko (2019), as a device that helps to outline a horizontal sound ecology. This approach, which takes as its starting point the sound and material vibration