This paper discusses compositional approaches of working with audiovisual media to create electroacoustic music. The focus will be primarily on the composition Current 9 (2018): an algorithmic composition that integrates non-representational imagery and electronic sound. The piece integrates sound synthesis, stop motion animation and computer graphics to form an interactive graphic score-in-motion. Outlining the shared similarities of movement, identity and algorithmic space. These entities form the basis for the creation of visual music through the appliance of interdisciplinary methodologies to establish morphological behaviors across audiovisual events.
-
contents
- Home
- Magno Caliman: squareFuck
- Geoff Cox: The Now of Computer Experimentation
- Michele Del Prete: The Supplement of Simulation
- Iain Emsley: Distant Sonification
- Kiyoshi Furukawa, Haruyuki Fujii, Takajuki Hamano: The Architecture Dreams Music Project
- Bjarni Gunnarson: Synthetic Environments and Compositional Context
- Olaf Hochherz: Hiller and Isaacson's Misleading Representations of their Experiments
- Robert Lisek: Meta Learning in Music
- Eric Maestri: Simulation as Intimate Transformation of the Existential Experience
- Tom Mudd: Algorithms Playing Algorithms
- Juan Parra, Fernando Rosas: On Timbre Networks
- Mark Pilkington: Current 9 - Graphical Notation in Music
- David Pirrò, Luc Döbereiner: Contingency and Synchronisation
- Jari Rinne: Sound Art as Simulation
- Hanns Holger Rutz: Computing at Intrinsic Speed within a Culture of Real-Time
- Dolores A. Steinman, Peter Coppin, David A. Steinman: Re-imagining Blood Flow at the Blurry Border between Simulation and Simulacrum
- Rebekah Wilson: Beyond Isomorphism
- Hanns Holger Rutz, David Pirrò, Jonathan Impett, Daniele Pozzi
-
navigation
-
abstract
'Simulation and Computer Experimentation in Music and Sound Art' was the title of an artistic research seminar conducted through a collaboration between Algorithms that Matter and Orpheus Instituut Ghent, taking place at Orpheus from March 21, 2019 until March 22, 2019. The seminar brought together practitioners and scholars to discuss the wide-reaching implications of the ‘agential cut’ (Barad) or ‘ontic cut’ (Rheinberger) – the separation between operationalised model or abstract theory and perceived or experimentally verified ‘reality’, the fissure already indicated by Husserl and realised in experimental computational systems. Computational models afford a way to test theoretical constructs or observe the consequences of non-physical or even imaginary hypotheses. One arrives at a critical conception of computation, situating it beyond the dualism of a deductive, representational approach and an inductive, empirical approach, acknowledging a speculative quality of algorithms that ‘are not simply the computational version of mathematical axioms, but are to be conceived as actualities, self-constituting composites of data’ and ‘equipped with their own procedure for prehending data.’ (Parisi) The very activity of experimentation and augmenting the language of artistic creation is exposed through the use of algorithms.
- Hanns Holger Rutz, David Pirrò, Jonathan Impett, Daniele Pozzi - ALMAT @ Orpheus - Simulation and Computer Experimentation in Music and Sound Art - 2021
- Meta
- Comments
- Terms