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Books on the topic 'Electronic aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Listening through the noise: The aesthetics of experimental electronic music. New York: Oxford University Press, 2010.

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2

The aesthetics of ambivalence: Rethinking science fiction film in the age of electronic (re)production. Westport, Conn: Greenwood Press, 1992.

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3

Bayle, François. Musique acousmatique: Propositions-- positions. Paris: Institut national de l'audiovisuel, 1993.

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4

The digital musician. New York: Routledge, 2012.

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5

Hugill, Andrew. The digital musician. New York: Routledge, 2008.

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6

Raaijmakers, Dick. Cahier "M": A brief morphology of electric sound. Leuven, Belgium: Leuven University Press, 2000.

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7

Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. Cambridge, Mass: MIT Press, 2006.

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8

Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. 2nd ed. Cambridge, Mass: MIT Press, 2005.

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9

Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. Cambridge, MA: MIT Press, 2005.

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10

Music and the emotions: The philosophical theories. London: Routledge & Kegan Paul, 1985.

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11

Wolin, Richard. Walter Benjamin, an aesthetic of redemption. Berkeley: University of California Press, 1994.

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12

McLean, Alex (Christopher Alex), 1975-, ed. Speaking code: Coding as aesthetic and political expression. Cambridge, Mass: The MIT Press, 2012.

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13

Broadhurst, Susan. Digital practices: Aesthetic and neuroesthetic approaches to performance and technology. Houndmills: Palgrave Macmillan, 2009.

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14

Myth into art: Poet and painter in classical Greece. London: Routledge, 1994.

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15

Dinkla, Söke. Pioniere interaktiver Kunst von 1970 bis heute: Myron Krueger ... [et al.]. Ostfildern: Cantz, 1997.

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16

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

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17

Angelis, Valentina De. Arte e linguaggio nell'era elettronica. [Milan]: B. Mondadori, 2000.

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18

Paik, Nam June. Nam June Paik: Lo sciamano del video : [mostra. Milan: Mazzotta, 1994.

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19

Paik, Nam June. Nam June Paik: Fluxus, Video. Bremen: Kunsthalle Bremen, 1999.

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20

Paik, Nam June. Nam June Paik: Video works, 1963-88 : 29 September-11 December 1988, Hayward Gallery. London: South Bank Centre, 1988.

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21

Paik, Nam June. Nam June Paik: Zeichnungen. Basel: Öffentliche Kunstsammlung Basel, 2000.

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22

Paik, Nam June. Nam June Paik: Baroque Laser. Ostfildern: Cantz, 1995.

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23

Paik, Nam June. Nam June Paik: Fluxus und Videoskulptur : 9.6.-25.8.02, Lehmbruck Museum, Duisburg : anlässlich der 26. Duisburger Akzente "Das Fremde und das Eigene--Globalisierung der Kulturen". Duisburg: Stiftung Wilhelm Lehmbruck Museum, 2002.

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24

Paik, Nam June. Nam June Paik: Video time, video space. Edited by Stooss Toni and Kellein Thomas. New York: H.N. Abrams, 1993.

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25

Paik, Nam June. Nam June Paik: Family of robot. Cincinnati, Ohio: Carl Solway Gallery, 1986.

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26

Paik, Nam June. Nam June Paik: Video time, video space. Ostfildern-Ruit bei Stuttgart: Edition Cantz, 1991.

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27

Heinrich, Klotz, and Weibel Peter, eds. Jeffery Shaw, a user's manual: From expanded cinema to virtual reality = Jeffrey Shaw, eine Gebrauchsanweisung : vom expanded Cinema zur virtuellen Realität. Karlsruhe: ZKM, 1997.

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28

Prophet, Jane. Taste, teaching and the Utah teapot: Creative, gender, aesthetic and pedagogical issues surrounding the use of electronic media in art and design education : with particular reference to hypertext applications. [s.l.]: typescript, 1994.

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29

New scapes: Territories of complexity. Basel: Birkhäuser, 2003.

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30

Plato. Lysis: Symposium ; Gorgias. Cambridge, Mass: Harvard University Press, 1996.

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31

Plato. Lysis, Phaedrus, and Symposium: Plato on homosexuality. Amherst, N.Y: Prometheus Books, 1995.

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32

Plato. Lysis. Göttingen: Vandenhoeck & Ruprecht, 1998.

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33

Plato. Tutti gli scritti. Milano: Rusconi, 1991.

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34

Plato. Selected dialogues of Plato: The Benjamin Jowett translation. New York: Modern Library, 2000.

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35

Marc, Battier, ed. Aesthetics of live electronic music. [Reading]: Harwood Academic Publishers, 1999.

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36

Living Electronic Music. Ashgate Pub Co, 2007.

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37

Living Electronic Music. Ashgate Publishing, 2007.

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38

Vesna, Victoria. Database Aesthetics: Art in the Age of Information Overflow (Electronic Mediations). Univ Of Minnesota Press, 2007.

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39

Vesna, Victoria. Database Aesthetics: Art in the Age of Information Overflow (Electronic Mediations). Univ Of Minnesota Press, 2007.

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40

Politics and Aesthetics in Electronic Music: A Study of EMS - Elektronmusikstudion Stockholm, 1964-79. Kehrer Verlag Heidelberg, Klaus Kehrer, 2015.

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41

Coding Freedom: The Ethics and Aesthetics of Hacking: The Ethics and Aesthetics of Hacking. Princeton, NJ, USA: Princeton University Press, 2012.

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42

Lange, Barbara Rose. Local Identity, World Music 2.0, and Electronic Dance Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0009.

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Chapter 8 discusses the orientation of Central European musicians to aesthetics, production technologies, and distribution networks of the turn of the millennium that are collectively termed world music 2.0, arguing that study of local information flow enriches the overall notion of world music 2.0. The chapter reviews how electronic dance music (EDM) became a key component of the millennial sound world and of world music 2.0 in Central Europe. The chapter then describes musicians who continue to think locally as they merge sensibilities: the Slovak duo Longital developed a futurist aesthetic; the Austrian composer and musician Christof Dienz blended alpine ideas, avant-garde art music, and EDM; and Hungarian composer-producer Károly Cserepes infused musical dreamscapes with local sounds. The chapter concludes that the Central European musicians occupy a liminal space between analog world music 1.0 and networked world music 2.0.

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43

Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press, 2012.

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44

Coleman, E. Gabriella. Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press, 2012.

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45

Coleman, E. Gabriella. Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press, 2012.

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46

Battier, Marc. Aesthetics of Live Electronic Music: A special issue of the journal Contemporary Music Review (Special Issue of the Journal Contemporary Music Review). Routledge, 2000.

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47

1976-, Böhme-Mehner Tatjana, Mehner Klaus, and Wolf Motje 1982-, eds. Elektroakustische Musik: Technologie, Ästhetik und Theorie als Herausforderung an die Musikwissenschaft = Electroacoustic music : technologies, aesthetics, and theories : a musical challenge. Essen: Blaue Eule, 2008.

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48

1962-, Gendreau Ysolde, Université de Montréal. Centre de recherche en droit public., and International Association for the Advancement of Teaching and Research in Intellectual Property., eds. Propriété intellectuelle : entre l'art et l'argent: Intellectual property : bridging aesthetics and economics. Montréal: Éditions Thémis, 2006.

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49

Hans-Joachim, Braun, International Committee for the History of Technology., and Symposium ICOHTEC (23rd : 1996 : Budapest, Hungary), eds. ' I sing the body electric': Music and technology in the 20th century. [Hofheim]: Wolke, 2000.

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50

Roads, Curtis. Composing Electronic Music: A New Aesthetic. Oxford University Press, Incorporated, 2015.

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