Pub Date : 2023-07-31DOI: 10.1017/s1355771823000432
Ian Clester
{"title":"Alan F. Blackwell, Emma Cocker, Geoff Cox, Alex McLean and Thor Magnusson, Live Coding: A User’s Manual. Cambridge, MA: MIT Press, 2022. ISBN: 9780262544818. doi: https://doi.org/10.7551/mitpress/13770.001.0001","authors":"Ian Clester","doi":"10.1017/s1355771823000432","DOIUrl":"https://doi.org/10.1017/s1355771823000432","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47269392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.1017/s1355771823000249
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 of structural analysis: what does it mean to work with digital waste, how is it qualified, and what new relationships and methodologies do this foment? To chart the fluid boundaries of Debris and pin down its underlying conceptualisation of sound, this article introduces a framework ranging from archaeomusicology to intertextuality, from actor-network theory to Deleuzian assemblage, from Adornian constellation to swarm intelligence to platform and network topology. This diversity of approaches traces connective frictions that may allow us to understand, from the perspective of Debris, what working with sound means under the regime of machine intelligence. How has machine intelligence fundamentally altered the already shaky diagram connecting humans, creativity and history? We advise the reader to approach the text as a multisensory experience, listening to Debris while navigating the circuitous theoretical alleys below.
{"title":"Debris: Machine learning, archive archaeology, digital audio waste","authors":"Roberto Alonso Trillo, Marek Poliks","doi":"10.1017/s1355771823000249","DOIUrl":"https://doi.org/10.1017/s1355771823000249","url":null,"abstract":"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 of structural analysis: what does it mean to work with digital waste, how is it qualified, and what new relationships and methodologies do this foment? To chart the fluid boundaries of Debris and pin down its underlying conceptualisation of sound, this article introduces a framework ranging from archaeomusicology to intertextuality, from actor-network theory to Deleuzian assemblage, from Adornian constellation to swarm intelligence to platform and network topology. This diversity of approaches traces connective frictions that may allow us to understand, from the perspective of Debris, what working with sound means under the regime of machine intelligence. How has machine intelligence fundamentally altered the already shaky diagram connecting humans, creativity and history? We advise the reader to approach the text as a multisensory experience, listening to Debris while navigating the circuitous theoretical alleys below.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41274273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1017/s1355771823000298
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 his 2005 album Dataplex, the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda’s sonic composition.
{"title":"Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, variation and re-contextualisation of sound","authors":"Marina Sudo","doi":"10.1017/s1355771823000298","DOIUrl":"https://doi.org/10.1017/s1355771823000298","url":null,"abstract":"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 his 2005 album Dataplex, the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda’s sonic composition.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47124039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-19DOI: 10.1017/s1355771823000250
R. Dean, Felix A. 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 formed a ‘cohesive’ sonic ordering of unlabelled icons (sounds attached). In Task 2, they categorised the icons into four boxes. In Task 3 listeners separately ordered the sounds from each of Task 2’s boxes using the approach of Task 1. Tasks 1 and 2/3 revealed distinct orderings, consistent with conceptual flexibility. To analyse the orderings, we replaced conventional distance by adjacency measures, and described each system as a network (rather than spatial positions), confirming that the two task outcomes were distinct. Network analyses also showed that the two systems were mechanistically distinct and allowed us to predict temporally changing networks, modelling the observed networks as successive perceptions. Further simulated networks generated with the temporal model readily encompassed all possible pairings between the sounds and not just those we observed. The temporal network model thus confirms conceptual flexibility even in untrained listeners, clearly suitable for a composer to use.
{"title":"Flexibility Conceiving Relationships between Timbres Revealed by Network Analysis","authors":"R. Dean, Felix A. Dobrowohl, Yvonne Leung","doi":"10.1017/s1355771823000250","DOIUrl":"https://doi.org/10.1017/s1355771823000250","url":null,"abstract":"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 formed a ‘cohesive’ sonic ordering of unlabelled icons (sounds attached). In Task 2, they categorised the icons into four boxes. In Task 3 listeners separately ordered the sounds from each of Task 2’s boxes using the approach of Task 1. Tasks 1 and 2/3 revealed distinct orderings, consistent with conceptual flexibility. To analyse the orderings, we replaced conventional distance by adjacency measures, and described each system as a network (rather than spatial positions), confirming that the two task outcomes were distinct. Network analyses also showed that the two systems were mechanistically distinct and allowed us to predict temporally changing networks, modelling the observed networks as successive perceptions. Further simulated networks generated with the temporal model readily encompassed all possible pairings between the sounds and not just those we observed. The temporal network model thus confirms conceptual flexibility even in untrained listeners, clearly suitable for a composer to use.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42833526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-30DOI: 10.1017/S1355771823000018
Tullis Rennie
The first special issue on socially engaged sound practices (Organised Sound 26/2) contributed to this growing area of research in distinct ways. It featured scholarly accounts by those doing socially engaged sound practices, with such accounts moving towards more inherently (self-)critical sound practices and study of such works. It included a diversity in interpretations of ‘sociality’, addressing distinct areas and eras of sound practices when doing so. The articles diversify the conversation on the topic by decentralising theoretical approaches to the subject matter and by including a wider variety of voices, experiences, sounding bodies and attitudes to listening. Together, the issue looked to move the conversation beyond dominant hierarchies and towards greater inclusivity, intersectionality, decolonisation and into the morethan-human register – all through creative sonic forms, at a scale larger than the individual. This second issue builds and expands upon this work, as well as moving into several further key areas. There is a certain emphasis by authors here on overcoming the unhelpful binaries of professional/nonprofessional (or ‘amateur’) regarding participation in collaborative sound arts practices, and in relation to non-hierarchical educational approaches. Other articles dig further into collective listener engagement and audience reception of (participative) work, and present theoretical standpoints that move beyond a music/sound art divide. Artist-authors and practiceresearchers describe bespoke sociotechnological applications and advances in distributed online approaches. It is also perhaps notable for the number of papers with three or more authors, and with more than half the issue written collaboratively. This, of course, returns to the overarching themes linking issues 26/2 and 28/1 overall – the social, engagement, collaboration in sound, and of listening to and resonating with ideas and sonic experiences beyond one’s own positionality. Erik Deluca and Elana Hausknecht approach socially engaged sound arts practices with open questions of authorship, identity, representation and remediation through a mixture of analytical and theoretical approaches. They draw on work by similarly socially engaged educator-facilitators Pauline Oliveros and Paulo Freire, whose ideas frame accounts of the authors’ own work and experiences. These auto-ethnographic accounts become an invitation for readers to consider the enactment of sound art as an open-ended dialogic event – an interweaving of sound, listening and learning – and further, to ‘witness some possibilities of dialogue in-process’ with critical consciousness. Vadim Keylin also explores the creative agency of participatory sound art works. Through two ethnographic case studies, his article examines the facilitation and execution of participants’ creativity, questioning how this intersects with the proposing artist’s agency and the work’s materiality. In dissociating sound-making from
{"title":"Editorial: Socially engaged sound practices, part 2","authors":"Tullis Rennie","doi":"10.1017/S1355771823000018","DOIUrl":"https://doi.org/10.1017/S1355771823000018","url":null,"abstract":"The first special issue on socially engaged sound practices (Organised Sound 26/2) contributed to this growing area of research in distinct ways. It featured scholarly accounts by those doing socially engaged sound practices, with such accounts moving towards more inherently (self-)critical sound practices and study of such works. It included a diversity in interpretations of ‘sociality’, addressing distinct areas and eras of sound practices when doing so. The articles diversify the conversation on the topic by decentralising theoretical approaches to the subject matter and by including a wider variety of voices, experiences, sounding bodies and attitudes to listening. Together, the issue looked to move the conversation beyond dominant hierarchies and towards greater inclusivity, intersectionality, decolonisation and into the morethan-human register – all through creative sonic forms, at a scale larger than the individual. This second issue builds and expands upon this work, as well as moving into several further key areas. There is a certain emphasis by authors here on overcoming the unhelpful binaries of professional/nonprofessional (or ‘amateur’) regarding participation in collaborative sound arts practices, and in relation to non-hierarchical educational approaches. Other articles dig further into collective listener engagement and audience reception of (participative) work, and present theoretical standpoints that move beyond a music/sound art divide. Artist-authors and practiceresearchers describe bespoke sociotechnological applications and advances in distributed online approaches. It is also perhaps notable for the number of papers with three or more authors, and with more than half the issue written collaboratively. This, of course, returns to the overarching themes linking issues 26/2 and 28/1 overall – the social, engagement, collaboration in sound, and of listening to and resonating with ideas and sonic experiences beyond one’s own positionality. Erik Deluca and Elana Hausknecht approach socially engaged sound arts practices with open questions of authorship, identity, representation and remediation through a mixture of analytical and theoretical approaches. They draw on work by similarly socially engaged educator-facilitators Pauline Oliveros and Paulo Freire, whose ideas frame accounts of the authors’ own work and experiences. These auto-ethnographic accounts become an invitation for readers to consider the enactment of sound art as an open-ended dialogic event – an interweaving of sound, listening and learning – and further, to ‘witness some possibilities of dialogue in-process’ with critical consciousness. Vadim Keylin also explores the creative agency of participatory sound art works. Through two ethnographic case studies, his article examines the facilitation and execution of participants’ creativity, questioning how this intersects with the proposing artist’s agency and the work’s materiality. In dissociating sound-making from ","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57121381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-16DOI: 10.1017/S135577182300002X
{"title":"Sound and video examples – issue 28 (1)","authors":"","doi":"10.1017/S135577182300002X","DOIUrl":"https://doi.org/10.1017/S135577182300002X","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47148745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-16DOI: 10.1017/S1355771822000589
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, this article investigates the utility of a system view on interactive, live electronics.
{"title":"Weak Interactions, Strong Bonds: Live electronics as a complex system","authors":"Oded Ben-Tal","doi":"10.1017/S1355771822000589","DOIUrl":"https://doi.org/10.1017/S1355771822000589","url":null,"abstract":"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, this article investigates the utility of a system view on interactive, live electronics.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44592503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-10DOI: 10.1017/S1355771822000590
Nicolas Bernier, G. Boutard, C. Traube, Estelle Schorpp, L. 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 understanding of the application of the sine wave in music.
{"title":"Sine Wave in Music and Sound Art: A typology of artistic approaches","authors":"Nicolas Bernier, G. Boutard, C. Traube, Estelle Schorpp, L. Bellemare, Victor Drouin-Trempe","doi":"10.1017/S1355771822000590","DOIUrl":"https://doi.org/10.1017/S1355771822000590","url":null,"abstract":"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 understanding of the application of the sine wave in music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48534724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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