Skip to main content Accesibility Help
×
×
Home

Tactility, Traces and Codes: Reassessing timbre in electronic media

  • Gabriel Paiuk (a1)
Abstract

This article starts by arguing that in diverse approaches to electronically produced sound in music of recent times a shift in focus has occurred, from the creation of novel sounds to the manipulation of sound materials inherent in a culture of electric and electronic devices of sound production.

Within these practices, the use of lo-fi devices, circuit-bending, cracked electronics and a resurfacing of older technologies is coupled with digital technology in a process which emphasises the devices characteristic modes of sound production and artefacts. Electronic sound becomes regarded as embedded on a reservoir of qualities, memories and registers of technologies that inhabit our sound environment.

From this starting point our apprehension of technologically produced sound is reassessed, constituted as the crossing of particular conditions of production and reception, cultural traces and codes inherent in the practices and characteristics of media.

This perspective lays the ground for a compositional approach that exposes and problematises the interaction of these multiple conditions.

Copyright
References
Hide All
Barker, J. 2009. The Tactile Eye: Touch and the Cinematic Experience. Berkeley: University of California Press.
Bayer, F. 1981. De Schönberg à Cage: Essai sur la notion d'espace sonore dans la musique contemporaine. Paris: Klincksieck.
Boulez, P. 1966. Notes of an Apprenticeship. New York: Knopf.
Brenez, N. 2004. The Forms of the Question. In J.S. Williams, M. Temple and M. Witt (eds.) For Ever Godard. London: Black Dog.
Chion, N. 1983. Guide to Sound Objects: Pierre Schaeffer and Musical Research. Paris: Editions Buchet/Chastel.
Chua, D.K. 1999. Absolute Music and the Construction of Meaning. Cambridge: Cambridge University Press.
Drumm, K, Tétreault, M. 2000. Particles And Smears. New York: Erstwhile Records, erstwhile 006-CD.
Eno, B. 1979. The Studio as Compositional Tool. In C. Cox and D. Warner (eds.) Audio Culture: Readings in Modern Music. New York: Continuum/Bloomsbury Academic, 2004.
Gibson, J. 1966. The Senses Considered as Perceptual Systems. Boston, MA: Houghton Mifflin.
Gottstein, B. 2011. Björn Gottstein in Discussion: An Aesthetics of Refusal. In B. Beins, C. Kesten, G. Nauck and A. Neumann (eds.) Echtzeitmusik Berlin/Self-Defining a Scene. Hofheim: Wolke.
Kim-Cohen, S. 2009. In The Blink of an Ear: Toward a Non-Cochlear Sonic Art. New York: Continuum.
Kittler, F.A. 1999. Gramophone, Film, Typewriter. Stanford, CA: Stanford University Press.
Lacasse, S. 2008. La musique pop incestueuse: Une introduction à la transphonographie. Circuit: Musiques Contemporaines 28(2): 1126.
Lachenmann, H. 1980. Quatre aspects du matériau musical et de l’écoute. Revue musicale suisse 6: 261270.
Link, S. 2001. The Work of Reproduction in the Mechanical Aging of Art: Listening to Noise. Computer Music Journal 25(1): 3447.
Marks, L. 2000. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham, NC: Duke University Press.
Massumi, B. 1998. Sensing the Virtual, Building the Insensible. Architectural Design: Hypersurface Architecture 68(5–6): 1624.
McKinnon, D. 2010. Awkward Ecologies: Sound-Based Music. eContact! 13(3). http://cec.sonus.ca/econtact/13_3/mckinnon_ecologies.html
Portishead. 1994. Dummy. New York: Go! Beat Records, 828 522-2 CD.
Radiohead. 2007. In Rainbows. London: XL Recordings, XLCD-324.
Sabbe, H. 1987. The Feldman Paradoxes: A Deconstructionist View of Musical Aesthetics. In T. DeLio (ed.)The Music of Morton Feldman. London: Greenwood Press.
Siepman, D. 2010. Agency and Improvisation in the Ambient Sound World. Perspectives of New Music 48(1): 173199.
Suvin, D. 1987. Approach to Topoanalysis and to the Paradigmatics of Dramaturgic Space. Poetics Today 8(2): 311334.
Sylvian, D. 2004. The Good Son vs. The Only Daughter. SamadhiSound, ss005-CD.
Young, J. 1996. Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music. Contemporary Music Review 15(1): 7393.
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Metrics

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Abstract views

Total abstract views: 0 *
Loading metrics...

* Views captured on Cambridge Core between <date>. This data will be updated every 24 hours.

Usage data cannot currently be displayed