Conference paper Open Access

Anacoustic Modes of Sound Construction: Toward a Practice

Seaback Robert


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  <identifier identifierType="DOI">10.5281/zenodo.5781374</identifier>
  <creators>
    <creator>
      <creatorName>Seaback Robert</creatorName>
      <affiliation>Norwegian Academy of Music</affiliation>
    </creator>
  </creators>
  <titles>
    <title>Anacoustic Modes of Sound Construction: Toward a Practice</title>
  </titles>
  <publisher>Zenodo</publisher>
  <publicationYear>2021</publicationYear>
  <dates>
    <date dateType="Issued">2021-12-14</date>
  </dates>
  <language>en</language>
  <resourceType resourceTypeGeneral="ConferencePaper"/>
  <alternateIdentifiers>
    <alternateIdentifier alternateIdentifierType="url">https://zenodo.org/record/5781374</alternateIdentifier>
  </alternateIdentifiers>
  <relatedIdentifiers>
    <relatedIdentifier relatedIdentifierType="ISBN" relationType="IsReferencedBy" resourceTypeGeneral="ConferencePaper">978-2-9572144-2-6</relatedIdentifier>
    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.5781373</relatedIdentifier>
    <relatedIdentifier relatedIdentifierType="URL" relationType="IsPartOf">https://zenodo.org/communities/electroacoustic-music-studies-network</relatedIdentifier>
  </relatedIdentifiers>
  <rightsList>
    <rights rightsURI="https://creativecommons.org/licenses/by/4.0/legalcode">Creative Commons Attribution 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
  </rightsList>
  <descriptions>
    <description descriptionType="Abstract">&lt;p&gt;This paper provides an overview of anacoustic modes of sound construction and virtual semiotics&amp;mdash;a propositional framework following N. Katherine Hayles&amp;rsquo;s posthumanism for the creation and analysis of electroacoustic music. Anacoustic modes address the computer at its most fundamental level: the syntactic level of information. This changes the nature of signification as sound is considered first as an informational construct rather than a material circumstance, rupturing the front-loaded meaning that arises from our acoustic experience.&lt;/p&gt;

&lt;p&gt;Techniques by Brün, Xenakis, and Tone elucidate the anacoustic concept and form a basis for identifying sonic parameters unique to their methods. This paper concludes with an expanded view of virtual semiotics based on current artistic research by the author, which establishes a symbiosis of anacoustic modes with standard digital practices.&lt;/p&gt;</description>
  </descriptions>
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