Getting Out of the Black Box: analogising the use of computers in electronic music and sound art.
The process of creating computer-based music is increasingly being conceived in terms of complex chains of mediations involving composer/performer and computer software interactions that prompt us to reconsider notions of materiality within the context of digital cultures. Recent scholarship has off...
| Publicado en: | Organised Sound Vol. 20; no. 2; pp. 191 - 200 |
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| Autores principales: | , |
| Formato: | Artículo |
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Cambridge University Press
Aug2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=108336174&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 108336174 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Aug2015 vid: 20 iid: 2 pid: 15979 pub: Cambridge University Press artinfo: ui: 108336174 10.1017/S1355771815000072 ppf: 191 ppct: 9 formats: tig: atl: Getting Out of the Black Box: analogising the use of computers in electronic music and sound art. aug: au: Charrieras, Damien Mouillot, François affil: City University of Hong Kong Level 7, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong, Hong Kong McGill University, Dept. of Art History and Communication Studies, Room W225, Arts Building, 853 Sherbrooke Street West, Montreal, Quebec H3A 0G5 su: Computer music Electronic music Sound art Music software Musical instruments sug: subj: Computer music Electronic music Sound art Music software Musical instruments ab: The process of creating computer-based music is increasingly being conceived in terms of complex chains of mediations involving composer/performer and computer software interactions that prompt us to reconsider notions of materiality within the context of digital cultures. Recent scholarship has offered particularly useful re-evaluations of computer music software in relation to musical instrumentality. In this article, we contend that given the ubiquitous presence of computer units within contemporary musical practices, it is not simply music software that needs to be reframed as musical instruments, but rather the diverse material strata of machines identified as computers that need to be thought of as instruments within music environments. Specifically, we argue that computers, regardless of their technical specifications, are not only ‘black boxes’ or ‘meta-tools’ that serve to control music software, but are also material objects that are increasingly being used in a wide range of musical and sound art practices according to an ‘analog’ rather than ‘digital’ logic. Through a series of examples implicating both soft and hard dimensions of what constitutes computers, we provide a preliminary survey of practices calling for the need to rethink the conceptual divide between analog and digital forms of creativity and aesthetics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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