Side Venus: The Legacy of Margaret Burroughs by Mary Ann Cain, Leo nardo 53, No. 2 (2020). ADELMAN, CLEMENT. “Chance in Art and Biology,” Leonardo 53, No. 1 (2020). AGGARWAL, VIDHU. “Radioactive Unicorn,” in “Scientific Delirium Madness 6.0” Gallery section, Leo nardo 53, No. 3 (2020). AH-MER-AH-SU. “Meg Ryan,” audio track, “LMJ30 Audio Companion,” Leonardo Music Journal 30 (2020). AHRNT, JANNA. “Deconstruct and Dissent: Subversive Technologies for the Modern Militant,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). ALESSANDRINI, PATRICIA. “A little bit of noise,” in “Scientific Delirium Madness 6.0” Gallery section, Leonardo 53, No. 3 (2020). AMELOT, PIERRE; HWONG, JOHN; and MCMANUS, KATE. “Vijks: Hidden Dimensions,” in Special Section “IEEE VIS 2016 and 2017 Arts Program Gallery,” Leonardo 53, No. 1 (2020). ANDERSON, GEMMA; VERD, BERTA; and JAEGER, JOHANNES. “Drawing to Extend Waddington’s Epige netic Landscape,” Leonardo 53, No. 3 (2020). ANTONOVA, CLEMENA. “Non-Euclidean Geometry in Russian Art History: On a Little-Known Application of a Scientific Theory,” Leonardo 53, No. 3 (2020). APOSTOLIDES, NIK. Introduction and Art Gallery, Leonardo Special Issue: SIGGRAPH 2020 Art Papers and Mediating Public Space Art Gallery, Leonardo 53, No. 4 (2020). ASHFORD, RAIN. “Responsive and Emotive Wearable Tech: Physiological Data, Devices and Communication,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “Earth Day, Regeneration and Arts-SciTech,” Leonardo 53, No. 2 (2020). AYTON-SHENKER, DIANA. “Earth, rise!” Leonardo 53, No. 3 (2020). AYTON-SHENKER, DIANA. “The Great Awakening: Are We Up to the Challenge?” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “The Leo nardo COVID-19 Diaries,” Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Adaptation and Convergence of Media: “High” Cultural Intermediality versus Popular Culture Intermediality, edited by Lily Díaz, Magda Dragu and Leena Elittä, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of Chromo graphia: American Literature and the Modernization of Color by Nicholas Gaskill, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Designing an Internet by David D. Clark, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Electronic Lit erature by Scott Rettberg, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century by Andrei Pop, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of Gramma lepsy: Essays on Digital Language Art by John Cayley, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of Sensations of History: Animation and New Media Art by James J. Hodge, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of The Super market of the Visible: Toward a General Economy of Images by Peter Szendy; translated by Jan Plug, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of The Technol ogy Fallacy: How People Are the Real Key to Digital Transformation
{"title":"2020 Leonardo and Leonardo Music Journal Author Index","authors":"D. D. Clark","doi":"10.1162/lmj_a_01107","DOIUrl":"https://doi.org/10.1162/lmj_a_01107","url":null,"abstract":"Side Venus: The Legacy of Margaret Burroughs by Mary Ann Cain, Leo nardo 53, No. 2 (2020). ADELMAN, CLEMENT. “Chance in Art and Biology,” Leonardo 53, No. 1 (2020). AGGARWAL, VIDHU. “Radioactive Unicorn,” in “Scientific Delirium Madness 6.0” Gallery section, Leo nardo 53, No. 3 (2020). AH-MER-AH-SU. “Meg Ryan,” audio track, “LMJ30 Audio Companion,” Leonardo Music Journal 30 (2020). AHRNT, JANNA. “Deconstruct and Dissent: Subversive Technologies for the Modern Militant,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). ALESSANDRINI, PATRICIA. “A little bit of noise,” in “Scientific Delirium Madness 6.0” Gallery section, Leonardo 53, No. 3 (2020). AMELOT, PIERRE; HWONG, JOHN; and MCMANUS, KATE. “Vijks: Hidden Dimensions,” in Special Section “IEEE VIS 2016 and 2017 Arts Program Gallery,” Leonardo 53, No. 1 (2020). ANDERSON, GEMMA; VERD, BERTA; and JAEGER, JOHANNES. “Drawing to Extend Waddington’s Epige netic Landscape,” Leonardo 53, No. 3 (2020). ANTONOVA, CLEMENA. “Non-Euclidean Geometry in Russian Art History: On a Little-Known Application of a Scientific Theory,” Leonardo 53, No. 3 (2020). APOSTOLIDES, NIK. Introduction and Art Gallery, Leonardo Special Issue: SIGGRAPH 2020 Art Papers and Mediating Public Space Art Gallery, Leonardo 53, No. 4 (2020). ASHFORD, RAIN. “Responsive and Emotive Wearable Tech: Physiological Data, Devices and Communication,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “Earth Day, Regeneration and Arts-SciTech,” Leonardo 53, No. 2 (2020). AYTON-SHENKER, DIANA. “Earth, rise!” Leonardo 53, No. 3 (2020). AYTON-SHENKER, DIANA. “The Great Awakening: Are We Up to the Challenge?” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “The Leo nardo COVID-19 Diaries,” Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Adaptation and Convergence of Media: “High” Cultural Intermediality versus Popular Culture Intermediality, edited by Lily Díaz, Magda Dragu and Leena Elittä, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of Chromo graphia: American Literature and the Modernization of Color by Nicholas Gaskill, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Designing an Internet by David D. Clark, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Electronic Lit erature by Scott Rettberg, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century by Andrei Pop, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of Gramma lepsy: Essays on Digital Language Art by John Cayley, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of Sensations of History: Animation and New Media Art by James J. Hodge, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of The Super market of the Visible: Toward a General Economy of Images by Peter Szendy; translated by Jan Plug, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of The Technol ogy Fallacy: How People Are the Real Key to Digital Transformation","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"125-130"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47663894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Building on Pratt and Haraway's ideas of the contact zone, we examine the soundscape in two maritime boundaries: the Bali Strait and the Strait of Georgia. Both places, imbued with colonial histories, are rich in ecological diversity and signify different degrees of violence perpetuated against those who attempt to cross their geopolitical boundary zones. Using practices taken from sensory, multispecies, sonic and autoethnography, we explore how sound and listening offer a textural analysis of space, a way to sense and experience histories and the possibility of listening as activism.
{"title":"Listening Geopolitics and the Anthropocene Contact zones of the Bali and Georgia Strait","authors":"Freya Zinovieff, Gabriela Aceves Sepúlveda","doi":"10.1162/lmj_a_01103","DOIUrl":"https://doi.org/10.1162/lmj_a_01103","url":null,"abstract":"Abstract Building on Pratt and Haraway's ideas of the contact zone, we examine the soundscape in two maritime boundaries: the Bali Strait and the Strait of Georgia. Both places, imbued with colonial histories, are rich in ecological diversity and signify different degrees of violence perpetuated against those who attempt to cross their geopolitical boundary zones. Using practices taken from sensory, multispecies, sonic and autoethnography, we explore how sound and listening offer a textural analysis of space, a way to sense and experience histories and the possibility of listening as activism.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"114-118"},"PeriodicalIF":0.2,"publicationDate":"2020-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49023620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The author's artistic experiment The Hearing Test focuses on detection of high frequency clicking sounds that are emitted by the tips of plants' roots. Scientists have claimed that plants' roots produce high frequency clicks between 20 and 300 kHz by bursting air bubbles. But while the phenomenon has been described, its cause remains unexplained. This lack of knowledge opens up possibilities for multiple interpretations and invites experimental approaches as well as speculation concerning plant intelligence, the role of species-specific hearing and sound as evidence. The article is an extended reflection on the experiment.
{"title":"The Hearing Test: Evidence of a Vegetal Entity","authors":"Laura Beloff","doi":"10.1162/lmj_a_01097","DOIUrl":"https://doi.org/10.1162/lmj_a_01097","url":null,"abstract":"Abstract The author's artistic experiment The Hearing Test focuses on detection of high frequency clicking sounds that are emitted by the tips of plants' roots. Scientists have claimed that plants' roots produce high frequency clicks between 20 and 300 kHz by bursting air bubbles. But while the phenomenon has been described, its cause remains unexplained. This lack of knowledge opens up possibilities for multiple interpretations and invites experimental approaches as well as speculation concerning plant intelligence, the role of species-specific hearing and sound as evidence. The article is an extended reflection on the experiment.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"85-89"},"PeriodicalIF":0.2,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48897277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The Beat Machine is a handheld music synthesizer and sequencer. The authors discuss the development of the Beat Machine and how creative constraints and opportunities were introduced by the particularities of low-cost microprocessors and associated electronics. The discussion is framed as an exemplar of Kåre Poulsgaard's concept of enactive individuation, a framework for relating material engagement to digital design and fabrication. In reflecting on the design and making of the Beat Machine the authors connect this framework with more established notions of creative interaction and the affordances of digital media.
{"title":"Beat Machine: Embracing the Creative Limitations and Opportunities of Low-Cost Computers","authors":"Andrew R. Brown, J. Ferguson","doi":"10.1162/lmj_a_01087","DOIUrl":"https://doi.org/10.1162/lmj_a_01087","url":null,"abstract":"Abstract The Beat Machine is a handheld music synthesizer and sequencer. The authors discuss the development of the Beat Machine and how creative constraints and opportunities were introduced by the particularities of low-cost microprocessors and associated electronics. The discussion is framed as an exemplar of Kåre Poulsgaard's concept of enactive individuation, a framework for relating material engagement to digital design and fabrication. In reflecting on the design and making of the Beat Machine the authors connect this framework with more established notions of creative interaction and the affordances of digital media.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"8-13"},"PeriodicalIF":0.2,"publicationDate":"2020-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46434872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article, Evelyn Ficarra considers her compositional practice, giving particular emphasis to the techniques and aesthetics of using time-lapse media and other temporal manipulations in interdisciplinary contexts. Foregrounding her collaboration with media artist Ian Winters on the large-scale interdisciplinary installation/performance Summer, Winter, Spring, Ficarra describes her attempt to model audio-temporal methods on techniques borrowed from the visual realm. She considers temporal compression, extension and layering as compositional tools, highlighting issues of scale, structure and experience, and suggests that radical temporal manipulations of material can serve to bridge referential and abstract sound worlds. Ficarra concludes with reflections on the meanings and poetic resonances of time-lapse media.
{"title":"Sounding Time: Explorations in Audio Time-Lapse and Temporal Layering in Interdisciplinary Collaboration","authors":"Evelyn Ficarra","doi":"10.1162/lmj_a_01089","DOIUrl":"https://doi.org/10.1162/lmj_a_01089","url":null,"abstract":"Abstract In this article, Evelyn Ficarra considers her compositional practice, giving particular emphasis to the techniques and aesthetics of using time-lapse media and other temporal manipulations in interdisciplinary contexts. Foregrounding her collaboration with media artist Ian Winters on the large-scale interdisciplinary installation/performance Summer, Winter, Spring, Ficarra describes her attempt to model audio-temporal methods on techniques borrowed from the visual realm. She considers temporal compression, extension and layering as compositional tools, highlighting issues of scale, structure and experience, and suggests that radical temporal manipulations of material can serve to bridge referential and abstract sound worlds. Ficarra concludes with reflections on the meanings and poetic resonances of time-lapse media.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"18-23"},"PeriodicalIF":0.2,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43469522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The author discusses her approach in conceiving The Whole Inside, a generative sound mural combining artificial and human voices. Using nine Visaton speakers, Pure Data and data projection, the author confronts femininity and violent misogyny, by which the body is being depersonalized, leading to subsequent dissociation as a defense mechanism to cope with traumatic events. The work is based on a graphically violent text sourced from the incels.me (“involuntary celibates”) forum.
{"title":"A Generative Sound Mural, The Whole Inside: Sounding the Body","authors":"Olivia Louvel","doi":"10.1162/lmj_a_01080","DOIUrl":"https://doi.org/10.1162/lmj_a_01080","url":null,"abstract":"Abstract The author discusses her approach in conceiving The Whole Inside, a generative sound mural combining artificial and human voices. Using nine Visaton speakers, Pure Data and data projection, the author confronts femininity and violent misogyny, by which the body is being depersonalized, leading to subsequent dissociation as a defense mechanism to cope with traumatic events. The work is based on a graphically violent text sourced from the incels.me (“involuntary celibates”) forum.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"29-32"},"PeriodicalIF":0.2,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46293475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Music Gesture can be thought of as being made up of dynamic, multisensorial lines. From this, the author draws from Ingold's “correspondence of lines” as a conception of music and a transformative compositional process, informing gestural line expressions and the development of notation systems for the body. The author outlines the technology he has developed for two compositions, involving a video scoring methodology and software that enables interactive video gestural sampling in a collaborative art music context. The author also engages with Ingold's concept of the “mesh,” as lines that overflow, and imagines how the mesh could be perceived through sensory modalities. This discourse of lines is contextualized through examples of absurdist instrumental pieces and corporeally based music.
{"title":"Music Gesture and the Correspondence of Lines: Collaborative Video Mediation and Methodology","authors":"D. Portelli","doi":"10.1162/lmj_a_01081","DOIUrl":"https://doi.org/10.1162/lmj_a_01081","url":null,"abstract":"Abstract Music Gesture can be thought of as being made up of dynamic, multisensorial lines. From this, the author draws from Ingold's “correspondence of lines” as a conception of music and a transformative compositional process, informing gestural line expressions and the development of notation systems for the body. The author outlines the technology he has developed for two compositions, involving a video scoring methodology and software that enables interactive video gestural sampling in a collaborative art music context. The author also engages with Ingold's concept of the “mesh,” as lines that overflow, and imagines how the mesh could be perceived through sensory modalities. This discourse of lines is contextualized through examples of absurdist instrumental pieces and corporeally based music.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"50-55"},"PeriodicalIF":0.2,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64407594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something “out there” in a virtual space but rather as something that impinges upon our senses in an actual “here and now.” Musical sense-making, therefore, should be considered a kind of ongoing knowledge construction with a dynamic tension between actual sensation and mental representation of sounding events. Four major dichotomies may be considered in this regard: the focal versus synoptic overview of the sounding music, the continuous/discrete processing of the sounds, the distinction between sensory experience versus cognitive economy, and the in-time/outside-of-time distinction. The author argues that a deliberate combination of these diverging approaches makes the musical experience a richer one.
{"title":"Music as Epistemic Construct: From Sonic Experience to Musical Sense-Making","authors":"M. Reybrouck","doi":"10.1162/lmj_a_01082","DOIUrl":"https://doi.org/10.1162/lmj_a_01082","url":null,"abstract":"Abstract Taking an epistemological stance towards music in a real-time listening situation entails a definition of music as a temporal and sounding art. This means that music cannot be described in abstract and detached terms as something “out there” in a virtual space but rather as something that impinges upon our senses in an actual “here and now.” Musical sense-making, therefore, should be considered a kind of ongoing knowledge construction with a dynamic tension between actual sensation and mental representation of sounding events. Four major dichotomies may be considered in this regard: the focal versus synoptic overview of the sounding music, the continuous/discrete processing of the sounds, the distinction between sensory experience versus cognitive economy, and the in-time/outside-of-time distinction. The author argues that a deliberate combination of these diverging approaches makes the musical experience a richer one.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"30 1","pages":"56-60"},"PeriodicalIF":0.2,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01082","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41843143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Manfred Werder, C. Anderson, Travis Just, Kara Feely, Natacha Diels, J. Callahan, Carolyn Chen, Sarah Hennies
{"title":"LMJ 29 Audio Tracklist","authors":"Manfred Werder, C. Anderson, Travis Just, Kara Feely, Natacha Diels, J. Callahan, Carolyn Chen, Sarah Hennies","doi":"10.1162/LMJ_A_01073","DOIUrl":"https://doi.org/10.1162/LMJ_A_01073","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"29 1","pages":"97-97"},"PeriodicalIF":0.2,"publicationDate":"2019-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46216953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The artistic techniques of mimesis—the representation of reality in art—make it possible to “render the unreal familiar or the real strangely unfamiliar.” The author, a composer and intermedia artist, uses mimetic techniques in acoustic composition, video art and field recording to reimagine everyday experience, as in his multimedia piece Landscape: Home. The author analyzes passages from the novel Sputnik Sweetheart by Haruki Murakami to understand Murakami’s use of “parallel worlds” and the “reality effect.” This literary analysis aims to highlight the potential of mimetic techniques for artistic practice in sound and image, particularly in the author’s Landscape series.
{"title":"Mimesis, Murakami and Multimedia Art: Parallel Worlds in Performance","authors":"C. Underriner","doi":"10.1162/lmj_a_01059","DOIUrl":"https://doi.org/10.1162/lmj_a_01059","url":null,"abstract":"The artistic techniques of mimesis—the representation of reality in art—make it possible to “render the unreal familiar or the real strangely unfamiliar.” The author, a composer and intermedia artist, uses mimetic techniques in acoustic composition, video art and field recording to reimagine everyday experience, as in his multimedia piece Landscape: Home. The author analyzes passages from the novel Sputnik Sweetheart by Haruki Murakami to understand Murakami’s use of “parallel worlds” and the “reality effect.” This literary analysis aims to highlight the potential of mimetic techniques for artistic practice in sound and image, particularly in the author’s Landscape series.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":"29 1","pages":"31-36"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44545644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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