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Andean J.,University of the Arts Helsinki
Organised Sound | Year: 2014

This article examines some of the ethical issues involved in working creatively with sound. Issues considered include: sound ownership; sound vs. vision as determinations of identity, and their relative iconicity; recorded sound; sound as physical phenomenon vs. sound as symbol; issues of copyright and trademark; community ownership; awareness, sensitivity and responsibility; composer responsibility vs. listener responsibility; the relative importance of contextualisation; and intercultural dialogue. We will conclude with a critique of the cultural and ethical shortcomings of the article itself, and a call for social, cultural and ethical engagement in creative sound work. Copyright © Cambridge University Press 2014.

When we try to understand and articulate an artistic practice called performing landscape, it proves helpful to understand various (f)actors, such as, for instance, the wind, the tripod, the scarf, the body, and so on, as interacting collaborators within an assemblage of various materialities (Bennett, 2010). Prompted by Rosi Braidotti’s (2013) overview of the discussions around the posthuman, however, we could ask whether it is possible to understand the interaction more like an “intra-action” (Barad, 2007), where the entanglement of the various components is a pre-condition, rather than a result, of the action. Perhaps the split of the artist into a performer in front of the camera and a witness behind it could be understood as an agential cut of sorts? In the case of a previous practice — performing with plants — intraaction is intuitively easier to assume, due to the symbiotic interdependence of animals and plants in their exchange of oxygen and carbon dioxide. But could we understand performing for the camera, with a small swing attached to a tree, as an intra-action as well? And if so, what would be the methodological advantages of pursuing such an understanding? This case study set within the field of performance as research and artistic research is related to the mattering of the digital, since the practice itself is to a large extent digital, although the main focus of the paper is on methodological questions. © 2014 by FUOC.

Norilo V.,University of the Arts Helsinki
Computer Music Journal | Year: 2015

Kronos is a signal-processing programming language based on the principles of semifunctional reactive systems. It is aimed at efficient signal processing at the elementary level, and built to scale towards higher-level tasks by utilizing the powerful programming paradigms of "metaprogramming" and reactive multirate systems. The Kronos language features expressive source code as well as a streamlined, efficient runtime. The programming model presented is adaptable for both sample-stream and event processing, offering a cleanly functional programming paradigm for a wide range of musical signal-processing problems, exemplified herein by a selection and discussion of code examples. © 2015 Massachusetts Institute of Technology.

Adhitya S.,University College London | Kuuskankare M.,University of the Arts Helsinki
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

This paper describes further developments of the SUM tool, initially developed for the sonification of images, towards the composition and execution of graphic scores. Closer integration of the SUM user library within the computer-aided composition environment of PWGL has allowed the composition and realization of more complex graphic scores. After first explaining the existing structure and sonification approach of the SUM tool, we introduce its new macro-structure utilising PWGL's VIUHKA texture generator, which supports higher structural levels and thus the generation of more complex sonic events. As a proof-of-concept demonstration of SUM's new macro scheme, we attempt to reproduce the graphic scores of Greek composer Anestis Logothetis, notable for his extensive graphic-sound taxonomy. We thus demonstrate the combined capabilities of PWGL and the SUM tool to support the computer-aided composition of graphic scores. Copyright: © 2014 Sara Adhitya et al.

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