Academic literature on the topic 'Acousmatic sound'
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Journal articles on the topic "Acousmatic sound"
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Kane, Brian. "Acousmate: History and de-visualised sound in the Schaefferian tradition." Organised Sound 17, no. 2 (July 19, 2012): 179–88. http://dx.doi.org/10.1017/s1355771812000118.
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The word ‘acousmatic’ has a strange and complicated history. Recent Schaefferian accounts have replicated François Bayle's sketch of the ‘histoire du mot’ from his Musique acousmatique – in particular, the assumed synonymy between ‘acousmatique’ and ‘acousmate’. However, this synonymy is mistaken. The word ‘acousmate’ was first coined in an article from 1730 to describe a strange noise heard one evening in the small French village of Ansacq. A discussion of the article follows, which shows how the word is unrelated to the Pythagorean acousmatics, and how its author understood his ‘acousmate’ in the context of contemporary natural science. Additionally, a sketch of the term's changing signification in three discourses – scientific, psychological and literary – is presented. The goal of this article is to articulate a set of problems concerning the historiography of acousmatic listening in the Schaefferian tradition. These problems include: 1) the need to authorise a practice of musique acousmatique, which has limited historical investigation to moments where the word ‘acousmate’ or ‘acousmatique’ appear in the archive; 2) a mistaken assumption that ‘acousmate’ and ‘acousmatique’ are synonymous, which has forced together historical moments that are not in fact affiliated; 3) an adherence to this affiliation, which has foreclosed the opportunity to consider acousmatic listening as a set of culturally and historically specific practices concerning the relationship of seeing and hearing.
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Pinheiro, Sara. "Acousmatic Foley: Staging sound-fiction." Organised Sound 21, no. 3 (November 11, 2016): 242–48. http://dx.doi.org/10.1017/s1355771816000212.
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This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms.The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory advocates loudspeakers as the mediators of the experience and the stage as part of the audience’s assembly. This translates into a practice of staging sound fiction, which focuses on formulating a conjecture based on formal and factual structures, allowing for a direct relationship between the listener and the listening, between the sounds and their fictional location.
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Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.
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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
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Donahue, Joseph. "Acousmatic Orphism: Susan Howe." CounterText 7, no. 3 (December 2021): 394–420. http://dx.doi.org/10.3366/count.2021.0243.
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In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.
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Soddell, Thembi. "The Acousmatic Gap as a Flexile Path to Self-Understanding: A case for experiential listening." Organised Sound 25, no. 3 (November 30, 2020): 344–52. http://dx.doi.org/10.1017/s1355771820000308.
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Since Schaeffer’s development of musique concrète, there has been an ongoing debate regarding the value of the acousmatic reduction for engaging with real-world sound in music, and its relevance for composers and listeners. This article presents a way of working with acousmatic sound that is more meaningful to me as a composer, which I have labelled experiential listening. In understanding acousmatic sound through the lens of experientialism (as opposed to Schaeffer’s use of phenomenology), I have devised this method to form a dialogue between sound, composer, and listener through the use of metaphor, to explore concepts beyond the experience of just sound in itself while composing. It accounts for the felt sense of intuition that can form through working with acousmatic sound, presenting a way of using this as a tool for self-understanding. It highlights Brian Kane’s ontology of acousmatic sound as the being of a gap, exploring where this gap can take the mind of the composer and listener. This is illustrated through my use of experiential listening to gain insights into lived experiences of mental illness and trauma, which reveals inner wisdom about the listening self that can be negotiated through acousmatic sound.
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Krylova, Alexandra V. "Acousmatic Sound in Multimedia Installations." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (2021): 63–75. http://dx.doi.org/10.33779/2587-6341.2021.3.063-075.
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DHOMONT, FRANCIS. "Is there a Québec sound?" Organised Sound 1, no. 1 (April 1996): 23–28. http://dx.doi.org/10.1017/s1355771896000143.
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This article approaches the definition of the important term 'acousmatic' by reference to its origins in the sound studios of the French National Radio. The links from France to Québec are outlined and the Québecois acousmatic school, largely based in Montreal, is introduced. Aspects of a typical piece are discussed, and the author is able to answer the title question positively.
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Amelides, Panos. "Acousmatic Storytelling." Organised Sound 21, no. 3 (November 11, 2016): 213–21. http://dx.doi.org/10.1017/s1355771816000182.
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The purpose of this article is to explore the idea of relating storytelling with acousmatic music in the creation of a hybrid vehicle for transmitting stories. The concept of acousmatic storytelling is introduced, illustrated by the example of one of my own works which was created with the elements and techniques of storytelling as its conceptual basis. The article continues to investigate concepts of acousmatic storytelling in works from the repertoire of electroacoustic music, with composers such as Ferrari, Westerkamp, Derbyshire, Cousins and Young providing especially pertinent examples. Acousmatic storytelling integrates interviews, archival recordings, soundscape recordings, sonic icons and music quotations; the microphone becomes a time machine, ‘thought capturer’ and a conduit for conveying cultural information, elements which, combined with the sonic world composed in the studio, create a hybrid form. The concepts introduced in this article are useful for all those working with recorded sound, offering an approach to sonic creativity based on storytelling techniques and the way we experience past events through memory and sound recording. Acousmatic storytelling transmits a unique version of a story to the mind of the listener, who participates in the creation of the story and acts as co-creator of that story as experienced. In applying the methodology of interviews as well as researching past events and ‘writing’ about them, acousmatic storytelling composers can also be seen as historians and journalists.
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Avidad, Andrea. "Deadly Barks: Acousmaticity and Post-Animality in Lucrecia Martel's La ciénaga." Film-Philosophy 24, no. 2 (June 2020): 222–40. http://dx.doi.org/10.3366/film.2020.0140.
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Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of acousmatic sound and acousmatic listening constitutes a strategy of disruption, challenging the traditional concept of the “animal” – an ideological and oppressive notion produced by dominant Western philosophical discourse. My reading gives close attention to what seems to be the barking of an unseen dog and its effects on human listeners, contending that, as the semiotic stability of the figure of the dog gradually erodes within Martel's cinematic territory, listening to the canine voice becomes an unsettling sensory-cognitive experience; the sound of the barks presents an irresolvable epistemic problem. I draw on Jacques Derrida's late writings on nonhuman animals, borrowing the term animot, to argue that Martel's film brings into audibility an animality irreducible plural: an alterity exceeding logocentric economies of knowledge. The film's experimental aesthetics and construction of narrative, I suggest, are concerned with perceiving and making perception itself perceptible, while exposing the limits of human perception – impassable limits marked by an animality which gradually withstands conceptual domestication. Through its use of acousmatic listening, La ciénaga expands our perception of ecological ontology.
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Milutis, Joe. "The Biography of the Sample: Notes on the Hidden Contexts of Acousmatic Art." Leonardo Music Journal 18 (December 2008): 71–75. http://dx.doi.org/10.1162/lmj.2008.18.71.
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Acousmatic sound art production has as its goal a transformation of recognizable recorded sound samples into new relations, effectively hiding the origin of the raw material so as to focus on an experience of pure sound. The author defines the “live” as the “life” from which these samples are pulled, and considers the ways in which the biography of the sample troubles acousmatic art.
Dissertations / Theses on the topic "Acousmatic sound"
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Pantaleão, Aquiles. "Compositional processes in acousmatic sound and music." Thesis, City University London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397932.
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Pearse, Stephen. "Agent-based graphic sound synthesis and acousmatic composition." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/15892/.
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For almost a century composers and engineers have been attempting to create systems that allow drawings and imagery to behave as intuitive and efficient musical scores. Despite the intuitive interactions that these systems afford, they are somewhat underutilised by contemporary composers. The research presented here explores the concept of agency and artificial ecosystems as a means of creating and exploring new graphic sound synthesis algorithms. These algorithms are subsequently designed to investigate the creation of organic musical gesture and texture using granular synthesis. The output of this investigation consists of an original software artefact, The Agent Tool, alongside a suite of acousmatic musical works which the former was designed to facilitate. When designing new musical systems for creative exploration with vast parametric controls, careful constraints should be put in place to encourage focused development. In this instance, an evolutionary computing model is utilised as part of an iterative development cycle. Each iteration of the system’s development coincides with a composition presented in this portfolio. The features developed as part of this process subsequently serve the author’s compositional practice and inspiration. As the software package is designed to be flexible and open ended, each composition represents a refinement of features and controls for the creation of musical gesture and texture. This document subsequently discusses the creative inspirations behind each composition alongside the features and agents that were created. This research is contextualised through a review of established literature on graphic sound synthesis, evolutionary musical computing and ecosystemic approaches to sound synthesis and control.
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Bezer, Alija. "Noise Made Visible: Acousmatic Sound and Visual Resonance." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367612.
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“Noise Made Visual: Acousmatic Sound and Visual Resonance” is a studio-based PhD project that generates new knowledge about cross-sensory perception and creative, multi-disciplinary practices. This knowledge is communicated through works of contemporary art in conjunction with this exegetical document. The four- year research undertaking was motivated by the following question:
How can listening to unfamiliar sounds that are severed from their original visual context of production (second- degree acousmatic sounds) affect the perceptual relationship between sound, sight, and materiality?
The recorded sound stimuli used for this inquiry encompass an array of ‘cosmic noises’, which are sounds derived from radio waves or electromagnetic forces in outer space. I surmise that many people are unfamiliar with these types of sounds and the processes involved in their production. In turn, this unfamiliarity can liberate sound perception from established audio-visual relationships that are depended on seeing or knowing the sound’s original source and environment of production. This thesis proposes that liberating sound perception from such visual contexts can promote alternative audio-visual relationships to emerge, specifically between sound qualities and abstract visual textures, surfaces, and shapes. These relationships between sonic and visual qualities can be encapsulated through works of visual art, examples of which are discussed in this paper.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Lantz, Fanny. "Exploring the impact of familiarity on the emotional response to acousmatic sound effects in horror film." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84249.
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Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.
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Hirsch, Adam. "Hearing Beyond the Veil: Benjy Compson and the Acousmatic Experience." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1400023673.
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Reeder, Philip Michael. "Inter-piece sampling and convolution : portfolio of 5.1 acousmatic and electronica compositions, interactive diagrams and text." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/8759/.
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This practice-based PhD – ‘Inter-piece Sampling and Convolution’ – evolved against the background of composers such as Amon Tobin and Monty Adkins, who use techniques and workflows common to both acousmatic and electronica music. The pieces in this thesis are linked through a sustained commitment to working across these two musical contexts and through their relationships to source materials and pulses. Sound materials have been sampled from within the pieces themselves, and materials from older pieces have been convolved with newer sounds, furthering the connections between pieces. The continual feeding-forward of source material promoted the synchronous development of the conceptual tool: Input, Sculpt, Output, which brought about the evolution of intricate diagrams. All of the pieces are for fixed media, and nine of the ten are in 5.1-format surround sound. The complex web of interrelationships created by the process of sampling and convolving material from previous pieces demanded an innovative means of representation. This representation took on a diagrammatic form in order to facilitate the analysis of a sound’s continuous (re)appropriation, explicated within supporting text. The diagrams indicate the extensive use of sampling and convolution to connect pieces, and include embedded hyperlinks to audio at various stages. As a result, textual analysis of techniques and their implications takes place across multiple pieces, and results in a wider scope for individual commentaries. The hyperlinked nature of the diagrams provides a foundation for further research, and a number of conclusions are posited about the use of sampling and convolution across multiple pieces.
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Buenafe, Mistén Louise. "Sound - Sense - Space: Might sound affect our experience of a room?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21463.
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Syfte: Rapportens syfte är att kartlägga om upplevelsen av ett rum kan förändras beroende på om och vilka ljud som spelas upp i rummet.Metod: I samband med en ljudinstallation på Plattan vid Malmö Högskola har rörelsemönster och beteende för Plattans besökare observerats. Dessutom har flera besökare besvarat en enkät.Resultat: Inga eventuella förändringar i rörelsemönstret eller beteendet för Plattans besökare kan ses som en konsekvens av ljudinstallationen. Det finns inte heller någon skillnad i enkätsvaren beroende på installationen. Slutsats: Resultatet ses som en konsekvens av bristfälliga forskningsmetoder. I rapportens slutsats bildas hypotesen att en installerad ljuddesign inte är en tillräcklig åtgärd i den undersökta typen av miljö. Tesen menar att en förändring av ljudmiljön och påverkan på människors upplevelse av rummet i första hand kräver akustiska åtgärder.
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Faber, Liz W. "From Star Trek to Siri: (Dis)Embodied Gender and the Acousmatic Computer in Science Fiction Film and Television." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/731.
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Recent advancements in voice-interactive technology such as Apple's Siri application, IBM's Watson, and Google's Now are not just the products of innovative computer scientists; they have been directly influenced by fictional technology. Computer scientists and programmers have openly drawn inspiration from Science Fiction texts such as Gene Roddenberry's television show Star Trek and Stanley Kubrick's 1968 2001: A Space Odyssey in order to create more effective voice-interactive programs. Such comparisons between present-day technology and past Science Fiction (hereafter, Sci-Fi) texts are even more apt than computer scientists seem to have intended; not only are Watson, Siri, and Now real-world versions of fictional computers, but each of them also hides the ways in which the computer is implicitly embodied and gendered by its voice. Real and fictional computers alike are generally voiced by a human: the Star Trek computer by Majel Barrett; Hal-9000 by Douglas Rain; and Watson by Jeff Woodman. Mysteriously, both Apple and Google have worked hard to hide the vocal origins of Siri and Now respectively. But the question remains: why do these programs even have gendered voices? In particular, why is Siri--the digital equivalent of a secretary--female? And why hide their voices' corporeal origins? Aside from technological inspiration, how have the underlying ideological gender assumptions in Sci-Fi texts like 2001 and Star Trek influenced the creation of such programs? What does the fact of the shift from Sci-Fi representations to scientific innovation reveal about the perpetuation of ideological assumptions about gender roles? How do other representations of computer voices confirm or problematize the gendering of computer voices? In this dissertation, I seek to answer these questions by examining the historical, theoretical, and aesthetic trace of the computer voice from Star Trek in 1966 to Siri in 2013. The voice-interactive computer, I argue, may be understood as a paradoxically acousmatic character: a disembodied voice that is simultaneously embodied through non-humanoid computer-objects. Through psychoanalytic interpretations, historical contextualizations, and transtextual considerations, I show how representations of acousmatic computers are positioned within narrative texts as gendered subjects, playing out particular gender roles that are situated within each text's historical context. I attend to the textual problem of location in Sci-Fi by dividing the analyses into two categories: extra-terrestrial and terrestrial. This division is important in understanding the roles of voice-interactive computers, as spaceships provide a uniquely different environment than terrestrial structures such as houses, office buildings, or prisons. Further, spaceships always already imply a womb-like habitat, a mothership that controls and maintains all aspects of the life forms within it; terrestrial computers, on the other hand, tend to connote varying gendered subjectivities and anxieties within historical contexts of technological innovation and cultural change. In this first part, I focus on extra-terrestrial voice-interactive computers in Star Trek (Paramount, 1966-1969), 2001: A Space Odyssey (Stanley Kubrick, 1968), Dark Star (John Carpenter, 1974), Quark (NBC, 1977-1978), Star Trek: The Next Generation (Paramount, 1987-1994), and Moon (Duncan Jones, 2010). In the second part, I examine terrestrial computers; these computers may be further divided into two, gendered subsections of masculine and feminine functions. The texts featuring masculine-voiced computers tend to act as the son to their programmer/creator fathers or, conversely, as all-knowing fathers, thereby reinforcing patriarchal rule. These films, Colossus: The Forbin Project (Joseph Sargent, 1970), THX 1138 (George Lucas, 1971), Rollerball (Norman Jewison, 1975), and Demon Seed (Donald Cammell, 1977), narrativize cultural and business struggles in the 1970s surrounding militarization and corporatization. I then examine the films of the early 1980s, TRON (Steven Lisberger, 1982) and Electric Dreams (Steven Barron, 1984), that express a rapidly-changing cultural conception of computers, set in narratives of homosocial struggle. And finally, I discuss computers in the 1990s and 2000s that serve in domestic roles, particularly those texts that feature domestic spaces run by female-voiced computers or, literally, house-wives. These texts, Fortress (Stuart Gordon, 1992), Smart House (LeVar Burton, 1999), and Eureka (SyFy, 2006-2012), position computers as replacements for human women who are absent from the home. Additionally, I examine two texts that feature male servants--Demon Seed (an anomaly among representations of domestic servitude) and Iron Man (Jon Favreau, 2008). I then return to Siri by examining representations of her programming, voice, and body in popular culture. By thus exploring the representations of gendered acousmatic computers within the context of computer history and changing gender norms, I self-reflexively examine how artificial intelligence may be presented in a gendered context, and how this may reflect changing notions of gender in digital culture.
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Kiraly, Thom. "An Angel Passes By : Posthuman and Acousmatic Voices in Digitally Mediated Contemporary Live Poetry." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-4738.
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This paper is a comparative analysis between two digitally mediated live poetry performances: Frikativ by Jörg Piringer and This Loud by Amy X Neuburg. More specifically, I examine how these poets use digital technology in their live performances to challenge traditional notions of the human voice. My main argument is that their modes of exerting controlling over their voices ultimately serve similar purposes; those of establishing the voice as a relationship between speaker and listener, a phenomenon rather than a discreet object or bodily organ possible to observe on its own. This phenomenological point of view draws on Karen Barad’s concept of posthumanist performativity as well as on philosophical works on the voice, such as Mladen Dolar's A Voice and Nothing More. Moreover, I give an historical account of sound poetry, tape poetry and tape loops as they relate to Frikativ and This Loud. In this, I also discuss live-looping; a technique used by both Piringer and Neuburg and connect it to Gilles Deleuze's ideas of difference and repetition. Finally, Piringer's and Neuburg's works is compared based on how they attempt to control the voices-as-relations in their performances. My conclusion is that Frikativ constantly destabilizes the establishment and recognition of voice-as-relation. This Loud, due to the extensive and focused use of live-looping, does not destabilize as much as it multiplies the possible configurations of voices-as-relations.
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Mullaney, Hilary. "The composer isn't there : a personal exploration of place in fixed media composition." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1596.
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This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.
Books on the topic "Acousmatic sound"
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Kane, Brian. Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford University Press, Incorporated, 2014.
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Sound unseen: Acousmatic sound in theory and practice. Oxford University Press, USA, 2014.
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Battey, Bret, and Rajmil Fischman. Convergence of Time and Space. Edited by Yael Kaduri. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.002.
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This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together, these historical shifts prefigure the development of audiovisual art, revealing underlying theoretical commonalities in the articulation of time and space that suggest fundamental dynamics of theaudiovisual contractand strategies available to the visual music creator to establish a synergy of sound and image. Some of these strategies are demonstrated in two original case studies.
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Drury, Joseph. Novel Machines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.001.0001.
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Novel Machines argues that many of the most important formal innovations in eighteenth-century fiction were critical responses to the new prominence of machines in Britain’s Industrial Enlightenment. Although narratives and machines had been seen as sharing a basic affinity since Aristotle, their relationship acquired a new urgency in the eighteenth century as authors sought to organize their narratives according to the new ideas about nature, art, and the human subject that emerged out of the Scientific Revolution. Novel Machines tracks the consequences of this effort to transform the novel into an Enlightenment machine. On the one hand, the rationalization of the novel’s narrative machinery helped establish its legitimacy, such that by the end of the century it could be celebrated as a modern ‘invention’ that provided valuable philosophical knowledge about human nature. On the other hand, conceptualizing the novel as a machine opened up a new line of attack for the period’s moralists, whose polemics against the novel were often framed in the same terms used to reflect on the uses and effects of machines in other contexts. Eighteenth-century novelists responded by adapting the novel’s narrative machinery, devising in the process some of the period’s most characteristic and influential formal innovations. Novel Machines focuses on four of these innovations: the extended representation of the deliberating mind in Eliza Haywood’s amatory fiction; Henry Fielding’s performative, self-conscious narrator; Laurence Sterne’s slow, digressive, non-linear narration; and the atmospheric descriptions of acousmatic sound in Ann Radcliffe’s gothic romances.
Book chapters on the topic "Acousmatic sound"
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Doyle, Peter. "Reverb, Acousmata, and the Backstage Musical." In The Routledge Companion to Screen Music and Sound, 577–89. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-45.
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Kane, Brian. "Acousmatic Fabrications." In Sound Unseen, 165–79. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199347841.003.0008.
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Kane, Brian. "The Acousmatic Voice." In Sound Unseen, 180–222. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199347841.003.0009.
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"The Acousmatic Question." In The Race of Sound, 1–37. Duke University Press, 2018. http://dx.doi.org/10.1215/9780822372646-001.
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Kane, Brian. "Acousmatic Phantasmagoria and the Problem of Technê." In Sound Unseen, 97–118. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199347841.003.0005.
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Kane, Brian. "Kafka and the Ontology of Acousmatic Sound." In Sound Unseen, 134–61. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199347841.003.0007.
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Gorne, Annette van de. "Space, Sound, and Acousmatic Music." In Kompositionen für hörbaren Raum, 205–20. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839430767-013.
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Kane, Brian. "Pierre Schaeffer, the Sound Object, and the Acousmatic Reduction." In Sound Unseen, 15–42. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199347841.003.0002.
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Snaith, Anna. "Jean Rhys and the Politics of Sound." In The Edinburgh Companion to Literature and Music, 570–76. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0059.
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Sound is everywhere in Jean Rhys’s work: from the acousmatic sounds of crowded and transitory living, to the transcription of popular song lyrics, to the politics of sonic regulation. Her writing attends to the racial and gendered politics of sound, particularly at those moments when sound becomes noise. This chapter considers the musical references in ‘Let Them Call It Jazz’ and Voyage in the Dark in the context of their wider sonic environment to argue that the politics of sound are central to Rhys’s modernism, particularly in its engagement with colonialism and slavery.
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Lie, Sulgi. "On the Acousmatics of Enunciation: Back to the Suture." In Towards a Political Aesthetics of Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch04.
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With Kaja Silverman’s works, a reversal within Lacanian theory becomes abundantly clear that turns away from the old identification paradigm of imaginary misjudgement in the mirror stage. Following Lacan’s reformulation of the gaze as an “objet petit a,” the gaze is thought of as divided from the subject and placed on the side of the object. In the synthesis of Copjec’s/Žižek’s work with Michel Chion’s theories of voice and sound, my aim is to conceive of a fundamental acousmatics of film: not only the voice, but also the gaze in film is structurally acousmatic. In Lacan’s understanding, gaze and voice are strictly equivalent objects. As such, it is my intention to conceive of a political aesthetics from a psychoanalytic acousmatics of film. In the point-of-view paradoxes and transsubjective gazes in Rossellini’s and Antonioni’s post-neorealist films, I analyze the political and social dimension of this acousmatics.
Conference papers on the topic "Acousmatic sound"
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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.
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Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses the sonification products of DNA and protein NMR data. The paper introduces On the Extinction of a Species, an acousmatic music composition combining NMR data sonification and voice narration. Ideas developed in electroacoustic composition, such as acousmatic storytelling and sound-based narration are presented and investigated for their use in sonification-based creative works.
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Oliveira Neto, Aluizio. "Iterative Meditations: The use of audio feature extraction tools on acousmatic composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10460.
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This piece explores some possibilities of using Music Information Retrieval and Signal Processing techniques to extract acoustic features from recorded material and use this data to inform the decision making process that is intrinsic to music composition. By trying to identify or create sound descriptors that correlate to the composer’s subjective sensations of listening it was possible to compare and manipulate samples on the basis of this information, bridging the gap between the imagined acoustic targets and the actions required to achieve it. “Iterative Meditations” was created through an iterative process of listening, analyzing, acting and refining the analysis techniques used, having as end product the musical piece itself as well as gathering a collection of tools for writing music.
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Antunes, Micael, Danilo Rossetti, and Jonatas Manzolli. "A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustics audio descriptors." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10415.
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This paper discusses a computer-aided musical analysis methodology anchored on psychoacoustics audio descriptors. The musicological aim is to analyze compositions centered on timbre manipulations that explore sound masses and granular synthesis as their builders. Our approach utilizes two psychoacoustics models: 1) Critical Bandwidths and 2) Loudness, and two spectral features extractors: 1) Centroid and 2) Spectral Spread. A review of the literature, contextualizing the state-of-art of audio descriptors, is followed by a definition of the musicological context guiding our analysis and discussions. Further, we present results on a comparative analysis of two acousmatic pieces: Schall (1995) of Horacio Vaggione and Asperezas (2018) of Micael Antunes. As electroacoustic works, there are no scores, therefore, segmentation and the subsequent musical analysis is an important issue to be solved. Consequently, the article ends discussing the methodological implication of the computational musicology addressed here.