Estetica digitale

Musicology of Electroacoustic Music [MEM]  >  Aesthetics  ]

Termine generico per intendere gli ambiti della creazione e della ricerca artistica nei quali la pratica elettroacustica attuale potrebbe essere considerata come un esempio specifico di utilizzo delle tecnologie numeriche. Tali tecnologie comprendono sia i mezzi di diffusione che quelli di produzione, e in verità soprattutto quelli che che mescolano i due. Il termine genericamente implica metodi di pensiero post moderni, come pure una posizione ideologica chiara in contrasto con il pensiero analogico.

 

See also

Interferenza Culturale (Culture-jamming)

,

Emersione (Emergence)

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Pensiero Ibrido (Hybrid Thinking)

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Interattività

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Internet Music

,

Intervenzione

,

Riciclaggio

,

Campionamento

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Bach, Glenn (2003). The Extra-Digital Axis Mundi: Myth, Magic and Metaphor in Laptop Music
Barlow, Clarence (1995). On the Aesthetic of all Historical Development of Electroacoustic Music
Belet, Brian (2003). Live Performance Interaction for Humans and Machines in the Early Twenty-first Century: One composer’s aesthetics for composition and performance practice
Cascone, Kim (2001). The Microsound Scene: An Interview with Kim Cascone
Chadabe, Joel (2004b). Look Around and Get Engaged
Dart, William, Elmsly, John, Whalley, Ian (2001). A View of Computer Music from New Zealand: Auckland, Waikato and the Asia/Pacific Connection
Di Scipio, Agostino (1994a). Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music: A Study in Composition Theory (II)
Dickinson, Kay (2001). ‘Believe?’ Vocoders, Digitalised Female Identity and Camp
Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music
Kubisch, Christina (2002). Digital Arts’ Black Sheep
LaBelle, Brandon, Breitsameter, Sabine (2002). Questionnaire
Landy, Leigh (1996). Quality {and} Quantity (if we’re lucky) {or} Marcuse’s problem ain’t been solved yet
Landy, Leigh (1998b). Digital Music Technology Can Aid in Bringing Music Back as a Part of Life
Landy, Leigh (2001a). From Algorithmic Jukeboxes to Zero-time Synthesis: A potential A-Z of music in tomorrow’s world (a conference provocation)
Landy, Leigh (2002b). La synthèse sonore: enfin l’émancipation?
Landy, Leigh (2003a). Voulez-vous changer votre paradigme avec moi ce soir?
Link, Stan (2001). The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise
Loubet, Emmanuelle (2000). Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere
Marinelli, Elisabetta (ed.) (1995). Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia (The Elettra Complex. Mapping research centres and musical production in Italy)
Mountain, Rosemary (2001a). Caveats from a Dyed-in-the-wool Futurist
Mountain, Rosemary (2004a). Theories Market: Open for Trading
Mountain, Rosemary (2004b). Marketing Strategies for Electroacoustics and Computer Music
Norris, Michael, Young, John (2001). Half-heard Sounds in the Summer Air: Electroacoustic Music in Wellington and the South Island of New Zealand
Reddell, Trace (2003). Laptopia: The Spatial Poetics of Networked Laptop Performance
Richard, Dominique (2000). {Holzwege} on Mount Fuji: A doctrine of no-aesthetics for computer and electroacoustic music
Rimbaud, Robin (a.k.a. Scanner) (2001). Remembering How to Forget: An Artist’s Exploration of Sound
Rodgers, Tara (2003). On the Process and Aesthetics of Sampling in Electronic Music Production
Rudy, Paul (2001). Separation Anxiety: Metaphoric transmutations from a paradoxical biological instrument, or: What is a cactus doing in our concert hall?
Szepanski, Achim (2001). A Mille Plateaux Manifesto
Tanzi, Dante (2001). Music Negotiation: Routes in user-based description of music
Thomson, Phil (2004). Atoms and Errors: Towards a history and aesthetics of microsound
Truax, Barry (2000a). The Aesthetics of Computer Music: A questionable concept reconsidered
Turner, Tad (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musics
Vidolin, Alvise (ed.) (1980). Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)
Waters, Simon (2000a). The musical process in the age of digital intervention
Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?
Whalley, Ian (2004). PIWeCS: Enhancing human/machine agency in an interactive composition system

 

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