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Journal articles on the topic 'Electronic artists'
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1
Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." Leonardo 24, no. 2 (1991): 230. http://dx.doi.org/10.2307/1575308.
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Stam, Deirdre C. "Artists and art libraries." Art Libraries Journal 20, no. 2 (1995): 21–24. http://dx.doi.org/10.1017/s0307472200009329.
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Asked about how artists use libraries, art librarians confirm that artists gather ideas from a wide spectrum of subjects and sources, beyond the scope of the art library; they also need images and other, specific, information which art libraries often can supply. Their approach is typically exploratory and intuitive; they are compulsive browsers, but are likely to be impatient of catalogs and only occasional users of standard references tools. They expect a lot of help from specialist librarians. Art libraries serving artists generally provide access to a wide range of images, and invariably house their collections on open stacks. Photocopying, including color copying, is an essential service, and other visual and ‘studio’ facilities may also be provided. As more and more visual and other relevant information is made available through electronic networks, art libraries can provide artists with assisted, convenient access to it.
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Drucker, Johanna. "The Self-Conscious Codex: Artists' Books and Electronic Media." SubStance 26, no. 1 (1997): 93. http://dx.doi.org/10.2307/3684834.
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Villagomez-Oviedo, Cynthia P. "Communication and Messages in Mexican Electronic Art." Glimpse 22, no. 1 (2021): 124–27. http://dx.doi.org/10.5840/glimpse202122119.
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Artists try to communicate precise ideas or concepts about certain social or political problems in order to change their context and surroundings. In this research the focus is on examples of Mexican Electronic artworks which specifically generate stages of communication. The methods applied to study these artifacts were observation, interview and analysis of certain art works and then selectively comparing different artists and their artistic works to understand, with the help of an adequate qualitative research approach, as to how the art communicated with human viewers. We concluded that communication of an abstract image could lead to different meanings. Interpretation depends on the cultural context of the viewer, age and nationality, among other important factors. Nonetheless all Mexican electronic artists studied in this research have a positive message for society, including justice and the preservation of environment and several related inspiring ideas.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Ippolito, Jean M. "Words, Images and Avatars: Explorations of Physical Place and Virtual Space by Japanese Electronic Media Artists." Leonardo 42, no. 5 (October 2009): 421–26. http://dx.doi.org/10.1162/leon.2009.42.5.421.
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While this article discusses the philosophical and even spiritual relevance of the cultural imprint of individual artists' work, especially for artists originating in a unique environment such as that of Japan, its main purpose is to address how artists capture the character of physical place, whether consciously or subconsciously, when producing creative work in a virtual environment, and how recent artists are exploring their desire to produce tangible objects from their virtual creations.
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Wi, Hyeongseok, and Wonjae Lee. "Stars inside have reached outside: The effects of electronic dance music DJs’ social standing and musical identity on track success." PLOS ONE 16, no. 8 (August 25, 2021): e0254618. http://dx.doi.org/10.1371/journal.pone.0254618.
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The social standing of an artist provides a reliable proxy for the value of the artist’s product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs’ tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.
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Ippolito, Jean M. "Electronic Media Art from China: New Visions Bring Messages from the Distant Past." Leonardo 50, no. 2 (April 2017): 160–69. http://dx.doi.org/10.1162/leon_a_00922.
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This article introduces a number of contemporary artists in China who use digital technologies for art production. The author explores how these artists embed ancient philosophical values into an international mix of content in these new technological forms.
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Rolnick, Neil. "The iEAR Studios Startup: Curriculum and Values in Electronic Arts Education." Leonardo 52, no. 1 (February 2019): 81–86. http://dx.doi.org/10.1162/leon_a_01327.
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When the MFA in Integrated Electronic Arts at Rensselaer Polytechnic Institute (iEAR) enrolled its first class in 1991, it was, as far as the author is aware, the first graduate program in the United States to focus on the electronic arts as a unified interdisciplinary field. This article recounts the process used to design an academic curriculum to help students develop the skills and the breadth of artistic vision needed to pursue careers as artists using electronic media. The article also describes the climate and culture of the iEAR Studios in the 1990s and argues that the values embodied in the studio culture played a large part in fostering the creative and experimental use of electronic media and developing artists whose work disregards traditional disciplinary boundaries.
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Meigh-Andrews, Chris. "Peter Donebauer, Richard Monkhouse and the Development of the EMS Spectron and the Videokalos Image Processor." Leonardo 40, no. 5 (October 2007): 463–67. http://dx.doi.org/10.1162/leon.2007.40.5.463.
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The author details the development of two early color video synthesizers, the EMS Spectron and the Videokalos Image Processor, and examines their influence on video-based art. The Spectron, developed by Richard Monkhouse for Electronic Music Studios, influenced both its creator and various artists in the development of video-based art and images. Artist Peter Donebauer collaborated with Monkhouse to produce the Videokalos, leading to several artworks and a series of live performances.
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Lovejoy, Margot. "Postmodern Currents: Art and Artists in the Age of Electronic Media." Journal of Aesthetics and Art Criticism 49, no. 2 (1991): 185. http://dx.doi.org/10.2307/431718.
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Wosk, Julie, and Margot Lovejoy. "Postmodern Currents: Art and Artists in the Age of Electronic Media." Technology and Culture 32, no. 1 (January 1991): 138. http://dx.doi.org/10.2307/3106022.
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Chalabi, Fares. "Art as Resistance in Postwar Lebanon." ARTMargins 9, no. 1 (February 2020): 29–46. http://dx.doi.org/10.1162/artm_a_00253.
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This article attempts to read a number of contemporary Lebanese artists by using the Foucauldian-Deleuzian concept of regimes of visibility. The article shows how a specific aesthetical problematic pertaining to Post-War Lebanon unfolds in the electronic and digital regimes of visibility. Last, the article contrast the Lebanese artists with other artists operating in Europe and the U.S and propose other artistic strategies when dealing with the same regimes of visibility.
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Malina, Roger F., and Margot Lovejoy. "Postmodern Currents: Art and the Artists in the Age of Electronic Media." Leonardo 24, no. 2 (1991): 247. http://dx.doi.org/10.2307/1575324.
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Angelin, Eva Mariasole, Mauro Bacci, Giovanni Bartolozzi, Emma Cantisani, and Marcello Picollo. "Contemporary artists' spinel pigments: Non-invasive characterization by means of electronic spectroscopy." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 173 (February 2017): 510–15. http://dx.doi.org/10.1016/j.saa.2016.10.002.
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Knebusch, Julien. "Planet Earth in Contemporary Electronic Artworks." Leonardo 37, no. 1 (February 2004): 18–24. http://dx.doi.org/10.1162/002409404772828003.
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This article presents an overall view of contemporary electronic artworks related to Planet Earth as a topic of artistic inquiry. The author presents and interprets philosophically the different ways in which artists have approached Planet Earth and tried to reappropriate this object of modernity. In order to do so he outlines a phenomenological reading of these artworks and confronts them with the well-established phenomenological discourse about humans' relationship to Planet Earth
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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 9–15. http://dx.doi.org/10.23856/4301.
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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.
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Dorin, Alan. "Generative processes and the electronic arts." Organised Sound 6, no. 1 (April 2001): 47–53. http://dx.doi.org/10.1017/s1355771801001078.
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This paper gives a personal perspective on the application and relevance of generative processes to art production. This view is that of a computer programmer, rather than that of a user of computer programs written (or hardware constructed) by others. The programmer is in the unique position of being able to describe and manipulate abstract processes which may be used as a unique means of artistic expression. This gives a greater amount of freedom to the programmer/artist than is the case when he or she is limited by programmed procedures defined by others.Prior to the development of a formal means of specifying visual and aural events, a concrete machine or set of rules for their manipulation and a means of bringing these representations back into the world as physical events, abstract processes were things to be contemplated but not experienced. Musical and spatial notations employed by artists, engineers and others, in concert with the programming of computing hardware, have opened the way for those who wish to manipulate processes in their artistic practice.In order to focus study and practice in the area of such generative computer art, the Center for Electronic Media Art (CEMA) has been established in Melbourne, Australia. The Center has spawned an international conference series on generative/process-based electronic art called Iteration. The perceived roles of the Center and Iteration conferences are discussed in this paper.
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Sandin, Daniel J., Tom DeFanti, Lou Kauffman, and Yvonne Spielmann. "The Artist and the Scientific Research Environment." Leonardo 39, no. 3 (June 2006): 219–21. http://dx.doi.org/10.1162/leon.2006.39.3.219.
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The authors reflect on the experiences of collaboration between artists and scientists at the Electronic Visualization Laboratory at the University of Illinois at Chicago. They outline the measures that enable both media artists and computer scientists to benefit from the collaborations. In particular, if long-term collaborations are to be successful, the collaborators must garner rewards not only in the field of the collaboration but also in their own respective academic or professional fields.
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Long, Jason, Jim Murphy, Dale Carnegie, and Ajay Kapur. "Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music." Organised Sound 22, no. 2 (July 12, 2017): 195–205. http://dx.doi.org/10.1017/s1355771817000103.
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The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and related artists. As the march of technology progressed in the latter half of the twentieth century, alternative technologies opened up new areas within the electroacoustic discipline such as computer music, hyper-instrument performance and live electronic performance. In addition, the areas of electromagnetic actuation and musical robotics also allowed electroacoustic artists to actualise their works with real-world acoustic sound-objects instead of or along side loudspeakers. While these works owe much to the oft-cited pioneers mentioned above, there exists another equally significant alternative history of artists who utilised electric, electronic, pneumatic, hydraulic and other sources of power to create what is essentially electroacoustic music without loudspeakers. This article uncovers this ‘missing history’ and traces it to its earliest roots over a thousand years ago to shed light on often-neglected technological and artistic developments that have shaped and continue to shape electronic music today.
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Mau, Heidi, and Cheryl L. Nicholas. "“Authenticity” in Popular Electronic Music." Journal of Popular Music Studies 32, no. 1 (March 1, 2020): 106–22. http://dx.doi.org/10.1525/jpms.2020.32.1.106.
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This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who participated in the perpetuation and maintenance of this alternative/indie identity. The Ladytron narrative shows how music artists might maintain an identity alternative to mass culture, while creating their own space within it.
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Emrali, Refa. "Today’s artist identity as multicultural and hybrid identity." Global Journal of Arts Education 6, no. 4 (June 12, 2017): 115–19. http://dx.doi.org/10.18844/gjae.v6i4.1826.
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AbstractAfter modernism, the definition of a work of art and the manner in which art is being created has changed. Artists today, no longer being nourished by their cultures alone, not identified as ‘genius’ or considered to be highly talented. They take part in the new world with their multiple identities. Art, via circulations that exceed the borders of nation states, is being moved away from indigenous values and authentic innocence towards a globalized and monopolized world. Notably, the cold war coming to an end in the 1980s, demolition of the Berlin Wall in 1989, the opening of national borders and globalism which feeds on electronic communication, have been shaping the contemporary world into a new form. All of these factors contribute to the creation of new type of artist, with legitimized hybridity within art. The issue is not the identity itself, but how it is being represented. This is due to the risk of ghettoization, brought along by claiming a culture and identity for oneself. The hybrid identities confronting us are political strategies out to tear down stereotypes such as race, gender, ethnic origin and conventional way of thinking. There is currently an increase in the numbers of artists, who manage to fit a variety of cultures into their lives, reside in a cosmopolitan manner within multiple geographical locations and create in several countries at once. The art world, having been de-centered, away from the West; upon discovering artists from Africa, South America and Asia, and conveying them towards the globalized world, is at the same time harboring a problem of standardization and similitude. The leisure of traveling the earth can be an advantage for an artist; however the lack of having roots and the insecurity caused by a nomadic lifestyle can turn into a disadvantage.
Keywords:multicultural, hybrid identity, contemporary art.
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Holtz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (September 2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.
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In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.
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Mottram, Judith. "Contemporary artists and colour: Meaning, organisation and understanding." Optics & Laser Technology 38, no. 4-6 (June 2006): 405–16. http://dx.doi.org/10.1016/j.optlastec.2005.06.002.
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Tait, Alex. "Mountain Ski Maps of North America: Preliminary Survey and Analysis of Style." Cartographic Perspectives, no. 67 (September 1, 2010): 5–18. http://dx.doi.org/10.14714/cp67.110.
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This article examines mountain ski resort trail maps in North America in 2008. It looks at the styles of maps used by resorts and at the main artists involved in producing the maps. The survey included maps from 428 resorts with additional analysis of maps from the 100 largest resorts. Point of view and creation method are the primary factors in determining the style of each ski trail map. Artists have employed three main types of views for ski mountains: panoramas, profiles, and planimetric maps. Panoramic views are by far the most common type of map (86% of all maps and all of the maps at the top 100 areas). Profile views are used in 8% of the maps and planimetric views in only 6%. Production methods for ski trail maps fall into three main categories: painting, illustrating, and computer rendering. Maps created with painting techniques are the most widespread, in use at 72% of all resorts and at 89% of the top 100 areas. Those created in a hard-edged vector-based illustration style are in use at 20% of resorts and those created through computer modeling and rendering at 3% of resorts.Many artists have created ski trail maps for resorts in North America but one artist, James Niehues, has produced by far the most maps in current use. His maps are in use at over a quarter of all ski areas and at half of the top resorts. Niehues follows in the footsteps of two other Coloradans, Hal Shelton and then Bill Brown, and this Colorado School has been key in the development of a classic painted panoramic style of North American ski maps. Additional research is recommended to provide further details of the history of the maps and their creators as well as to analyze the artists’ terrain manipulations and to look at the growing use of electronic trail maps.
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Ledger, Kate. "Electric Spring, Huddersfield, 22–26 February 2017." Tempo 71, no. 281 (June 21, 2017): 93–95. http://dx.doi.org/10.1017/s0040298217000377.
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In the heart of the University of Huddersfield's Creative Arts Building sits the unassuming Phipps Hall, which has given itself over to five days of total electronic sound immersion. The University has grown accustomed to attracting pioneering artists in contemporary music over the last four decades, both to its in-house research centre CeReNeM, and to the Huddersfield Contemporary Music Festival every November. The relatively younger Electric Spring Festival takes place every February and is now able to stand alongside its older sibling, offering the public an impressive and diverse programme of composers and artists specialising in electronic sound manipulation. This year was no exception. Running from 22 to 26 February, there was something to suit everyone, from improvised live-coded dance music to classic musique concrète masterpieces. From its conception in 1995, the aim of the festival has been to offer breadth and surprise to its audience.
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Kotuła, Dominika. "The Fall of the House of Users. The Bread Resolution’s Narrative Shifts." Tekstualia 1, no. 4 (January 1, 2018): 109–24. http://dx.doi.org/10.5604/01.3001.0013.5155.
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The article concerns an evolution of interests and views of the members of the Bread Resolution Publishing Hub. The Hub was a Polish online publishing collective, created by Leszek Onak, Piotr Puldzian Płucienniczak and Łukasz Podgórni, which existed from 2011 to 2018. This text traces and analyses the ways in which artistic representations of their ideas and opinions evolved in the light of contemporary theories related to electronic literature. First, the article describes the artists’ initial fascination with the seemingly endless possibilities offered by electronic literature and the Internet, which the Hub’s authors saw as potential sources of a perceptional revolution. Then, an important narrative shift is distinguished – the second part of the text is devoted to the turning point which significantly changed the Bread Resolution’s message. Following this the artists have started to find inspiration in the feeling of being entangled in the socio-economic reality of Poland.
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Kane, Carolyn. "The Electric “Now Indigo Blue”: Synthetic Color and Video Synthesis Circa 1969." Leonardo 46, no. 4 (August 2013): 360–66. http://dx.doi.org/10.1162/leon_a_00607.
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Circa 1969, a few talented electrical engineers and pioneering video artists built video synthesizers capable of generating luminous and abstract psychedelic colors that many believed to be cosmic and revolutionary, and in many ways they were. Drawing on archival materials from Boston's WGBH archives and New York's Electronics Arts Intermix, this paper analyzes this early history in the work of electronics engineer Eric Siegel and Nam June Paik's and Shuya Abe's Paik/Abe Video Synthesizer, built at WGBH in 1969. The images produced from these devices were, as Siegel puts it, akin to a “psychic healing medium” used to create “mass cosmic consciousness, awakening higher levels of the mind, [and] bringing awareness of the soul.” While such radical and cosmic unions have ultimately failed, these unique color technologies nonetheless laid the foundation for colorism in the history of electronic computer art.
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Palmese, Michael. "THE CURIOUS CASE OF ANTHONY GNAZZO: A LOST AMERICAN EXPERIMENTALIST." Tempo 74, no. 294 (September 1, 2020): 39–47. http://dx.doi.org/10.1017/s0040298220000376.
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ABSTRACTArchival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?
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Broeckmann, Andreas. "Reseau/Resonance: Connective Processes and Artistic Practice." Leonardo 37, no. 4 (August 2004): 280–86. http://dx.doi.org/10.1162/0024094041724544.
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Most Internet art projects use the Net solely as a telematic and telecommunicative transmission medium that connects computers and servers and through which artists, performers and users exchange data, communicate and collaboratively create files and events. At the same time, however, some artists are exploring the electronic networks as specific socio-technical structures with their respective forms of social and machinic agency, in which people and machines interact in ways unique to this environment. The author discusses recent projects that use the Net as a performative space of social and aesthetic resonance in which notions of subjectivity, action and production are being articulated and reassessed. This text discusses the notion of “resonance” in order to think through these approaches to network-based art practices.
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Callaghan, Holly. "Electronic ephemera: collection, storage and access in Tate Library." Art Libraries Journal 38, no. 1 (2013): 27–31. http://dx.doi.org/10.1017/s0307472200017843.
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The Tate Library holds an extensive collection of print ephemera that includes private invitation cards, press releases, postcards, and promotional material from artists and galleries. In 2006, library staff began to notice a trend for an increasing amount of born-digital ephemera, circulated via email and vulnerable to loss, deletion and disintegration. In 2011, they undertook an internal research project to develop a strategy for collecting, storing and providing access to born-digital ephemera. As the creation and dissemination of electronic ephemera continues to grow rapidly, we need to ask how we can bridge the gap in our technical knowledge and apply current digital preservation research to our library collections. How can we establish a low-cost working best practice for collection, storage and access? And is there future potential to create external partnerships with other institutions facing the same issues?
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Lyons, Andrew D. "Ian Fredericks in interview: ideas of an Australian spatial synthesis and mixed media innovator." Organised Sound 6, no. 1 (April 2001): 63–67. http://dx.doi.org/10.1017/s1355771801001091.
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Ian Fredericks played a prominent role in the development of Australian electronic music and mixed media composition from the mid 1970s until 2001. His work in establishing both the SEUSS electronic music studio at Sydney University and the subsequent founding of the computer music and audio-visual composition and performance group watt with Martin Wesley-Smith in 1976, paved the way for the generations of artists that have since explored this field. The author presents lightly edited excerpts from the last interview with Ian Fredericks before his passing on 15 March 2001.
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Jaimangal-Jones, Dewi. "Analysing the media discourses surrounding DJs as authentic performers and artists within electronic dance music culture magazines." Leisure Studies 37, no. 2 (June 26, 2017): 223–35. http://dx.doi.org/10.1080/02614367.2017.1339731.
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D’Agostino, Mirko Ettore. "Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology." Organised Sound 25, no. 1 (March 4, 2020): 106–15. http://dx.doi.org/10.1017/s1355771819000505.
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Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.
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Strachan, Robert. "The Spectacular Suburb: Creativity and affordance in Contemporary Electronic Music and Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (December 19, 2013): 5–24. http://dx.doi.org/10.7146/se.v3i3.15732.
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This article examines the relationship between sound, creative practice and the representation of landscape and environment. It uses an analysis of a single sound art/electronic music event, the Spectacular Suburb, a collaboration between sound recordist Chris Watson and the electronic producer/musician Matthew Herbert, as a central case study. Drawing upon interview material and the author’s own experiences as a curator of the event the article explores how individual sound objects are utilized subject to differing creative strategies. The article proposes a theoretical model of creativity influenced by ecological approaches to human perception. In particular, it suggests that for electronic musicians and sound artists creativity takes place according to complex affordance structures characterized by the relationship between the physical properties of sound, a highly nuanced set of socially constructed contexts, and specific technological and musical conventions.
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Veraprasert, Poot. "Electronic Resources on Art in Thailand (ERA): experiments at Silpakorn University Library." Art Libraries Journal 25, no. 2 (2000): 10–13. http://dx.doi.org/10.1017/s0307472200011536.
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Since its establishment in 1934 Silpakorn University has been recognized as the oldest, and one of the best, institutes of art and design education in Thailand. The University Library is believed to contain the foremost collection on art and art education in the country even though, in the past, its capacity to serve the public was constrained by inadequate bookstock and limited physical space. In order to expand its ability to serve the public and to enhance the development of art education in the country, a research project entitled ‘Electronic Resources on Art in Thailand (ERA)’ was launched in 1998, with the objective of creating an online source of information which would be useful both to the public and to professional artists and designers.
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Núñez-Pacheco, Claudia, and Jorge Olivares-Retamal. "Art as Refuge: The Symbolic Transformation of an Electronic Installation in the Midst of Chile's Social Unrest." Leonardo 54, no. 3 (2021): 313–14. http://dx.doi.org/10.1162/leon_a_02033.
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Abstract This position statement describes the transformation of an interactive installation from an instrumental piece of art and science pedagogy into a meaningful performative piece, which forced its creators to adopt a political stance in the light of a period of social unrest taking place in Chile beginning in October 2019. It describes how an apparently nonpartisan installation transitioned into a tool for political expression and refuge. It also allowed the artists to rethink their role in the community as facilitators of art spaces for self-dialogue.
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Cook, A. "Report. Migrants to The Royal Society, 1930–1940." Notes and Records of the Royal Society of London 58, no. 3 (September 22, 2004): 303–4. http://dx.doi.org/10.1098/rsnr.2004.0068.
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It is well known that after the Nazi Party came to power in Germany, many scholars, musicians, artists and writers were expelled or found it impossible to continue to work in Gemany. Scientists also, especially those of Jewish descent or connections, similarly left Germany and countries that came under the influence of Germany. Many of those artists, scholars and scientists who came to Britain stimulated the efflorescence of intellectual, artistic and scientific life in the years after the end of World War II. Those influences have been described in a number of books, albeit mostly in rather general terms. The list that is the subject of this note includes by contrast all Fellows and Foreign Members of the Society, so far as it has been possible to identify them, who after leaving for Britain or for other lands, were elected to the Society (electronic Appendix A).
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Swedenburg, Ted. "On the Origins of Pop Rai." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 7–34. http://dx.doi.org/10.1163/18739865-01201003.
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Abstract In this paper, I examine the emergence of pop rai in western Algeria during the 1970s and the subsequent transformation of rai into a very different sound, and a national and international phenomenon. The study is based in part on an analysis of previously hard-to-find pop rai recordings now available on the internet. Pop rai’s origins are in the rural music of the male performers of bédoui music and particularly the female cheikhat. After independence, constraints were imposed on female performances, and so, during the 1960s, male singers, most famously Belkacem Bouteldja, began to record a modern version of the cheikhat repertoire. Messaoud Bellemou, a trumpet player from the city of Aïn Témouchent, played a major role in the further development of the music; he created an ensemble that included singers like Boutaïba Sghir, Belkacem Bouteldja, Hamani Hadjoum and Younes Benfissa, that modernized the instrumental backing and overall sound of western Algeria’s local folkloric music, and thereby created the genre known as pop rai. Other artists who played a role in the development of pop rai include the Oran-based Chaba Fadela, who started her career with Bellemou’s group, Cheb Khaled, and Groupe El Azhar; and from Sidi Bel Abbès, guitarist and singer Ahmed Zergui. During the 1980s, rai music became national, and producer Rachid Baba Ahmed of Tlemcen further modernized its sound through the use of electronic keyboards. By the late 1980s, rai had become international, a new generation of artists had emerged, and the ensembles and artists that forged pop rai in the 1970s were displaced. Today those artists are largely forgotten, and this critical period in the history of rai remains seriously understudied.
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Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (February 2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.
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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.
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Lamb, H. "How do scientists and artists bring dinosaurs to life? (And no, not in that way)." Engineering & Technology 13, no. 5 (June 1, 2018): 54–58. http://dx.doi.org/10.1049/et.2018.0505.
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Emerson, Gina, and Hauke Egermann. "Exploring the motivations for building new digital musical instruments." Musicae Scientiae 24, no. 3 (October 16, 2018): 313–29. http://dx.doi.org/10.1177/1029864918802983.
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Over the past four decades, the number, diversity and complexity of digital musical instruments (DMIs) has increased rapidly. There are very few constraints on DMI design as such systems can be easily reconfigured, offering near limitless flexibility for music-making. Given that new acoustic musical instruments have in many cases been created in response to the limitations of available technologies, what motivates the development of new DMIs? We conducted an interview study with ten designers of new DMIs, in order to explore (a) the motivations electronic musicians may have for wanting to build their own instruments; and (b) the extent to which these motivations relate to the context in which the artist works and performs (academic vs club settings). We found that four categories of motivation were mentioned most often: M1 – wanting to bring greater embodiment to the activity of performing and producing electronic music; M2 – wanting to improve audience experiences of DMI performances; M3 – wanting to develop new sounds, and M4 – wanting to build responsive systems for improvisation. There were also some detectable trends in motivation according to the context in which the artists work and perform. Our results offer the first systematically gathered insights into the motivations for new DMI design. It appears that the challenges of controlling digital sound synthesis drive the development of new DMIs, rather than the shortcomings of any one particular design or existing technology.
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Lovell, Robb E. "Computer Intelligence in the Theatre." New Theatre Quarterly 16, no. 3 (August 2000): 255–62. http://dx.doi.org/10.1017/s0266464x00013889.
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How can computer intelligence best be employed in the theatre? Imagine that a computer is given the ability to control electronically all the media of the stage, and is able to sense and understand in an abstract way what is happening in that space. Furthermore, suppose that the computer is given the ability to reason about what is happening and could construct abstract responses through media. What would it be possible for the computer to do? The theatrical space is the computer's body, the electronic media the limbs, cameras and microphones used as sensors are the eyes and ears, a speech generation program the mouth, and the CPUs and internal programming are the brains, used to interact with the physical world. The space that holds the performance becomes an environment generated from behaviours of the computer, responding to and shaped by performers, designers, and technicians. Robb E. Lovell describes how this kind of intelligent environment can expand the expressive potential of traditional theatre in many ways, and considers how this will affect the viewers' and performers' perceptions, setting out some of the pros and cons of the involvement of computer intelligence in performance settings. Computer involvement is not, he argues, about the death of traditional theatre forms, but rather about their growth into new realms of expressiveness. Robb Lovell is a resident artist/technologist at the Institute for Studies in the Arts (ISA) at Arizona State University. He is co-creator of the Intelligent Stage, a theatrical space that registers sensory input through video and audio, and responds through lights, sound, video, animation, and robotics. He is currently creating tools for artists and technicians based on the technology of the Intelligent Stage – tools that allow artists to create interactive mediated works. He is working on a practical PhD in Interactive Theatre Design through the Institute for New Media Performance Research.
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Syverson, Ben. "Meaning without Borders: likn and Distributed Knowledge." Leonardo 40, no. 5 (October 2007): 433–38. http://dx.doi.org/10.1162/leon.2007.40.5.433.
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This paper serves as a narrative companion to likn, an artware application about the nature of knowledge, ideas and language. According to the advocates and engineers of the “knowledge representation” project known as the Semantic Web, electronic ontologies are “a rationalization of actual data-sharing practice”; but where do artists and intellectuals fit into this data-oriented model of discourse? likn critiques the Semantic Web from a postmodern perspective. This account describes how postmodern theory was scrutinized, interpreted and ultimately expressed as “features” in likn.
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Cantrell, Joe. "Timbre of Trash." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 217–29. http://dx.doi.org/10.47060/jaaas.v1i2.116.
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Late capitalist production is highly dependent upon the continuous manufacture of new goods to be brought to market. The idea of obsolescence plays a key role in this process, as more recent commodities replace older, presumably less-effective products. This process is especially prominent in the technological sector, which routinely encourages the deliberate replacement of older devices— even when still functional. Digital audio technologies fall in line with these practices, and are often produced using exploitative labor practices. A serious consideration of these effects poses a difficult question for sonic artists who use electronic and digital equipment in their practice. Specifically, how can sound practitioners begin to account for and push against their tacit contribution to the detrimental effects of obsolescence entailed by the tools of their craft? This article explores this question through the lens of new materialist discourse, which outlines modes of engaging with the physical world that reject the assumption that objects are static. Instead, they employ an understanding of objects as collective agents in constant active assemblage of shared material actions that include the presence of human bodies as part of a continuum of objects within larger systems of capital, labor, and politics. The electronic audio practices of American sonic artists who incorporate obsolete, broken, and discarded objects in their work will act as case studies for this exploration. Their work helps understand possible collaborative implementations of technological audio production that recognize the collective agency involved in their physical and aural production.
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Bentall, Robert. "Methodologies for Genre Hybridisation." Organised Sound 21, no. 2 (June 30, 2016): 117–26. http://dx.doi.org/10.1017/s1355771816000042.
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This article attempts to explore working methods for developing hybrid tendencies within electroacoustic music compositions. These working methods, such as the novel concept of reconstructive sampling, are each explored with musical examples given. The article opens by giving definitions of genre, and then explores hybridisation as a concept through ideas developed by Duff (2000), Waters (2000) and Frow (2015). While the article focuses on the musical output of the author, personal compositions are placed in a broader context through the discussion of other artists within the wider field of electronic music composition.
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Anderson, Margo. "The Census, Audiences, and Publics." Social Science History 32, no. 1 (2008): 1–18. http://dx.doi.org/10.1017/s0145553200013900.
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Visual and oral, video and audio evidence are brought to bear to examine the history of the U.S. census and the practice of social science history. The article explores how artists have appropriated and depicted census taking in America and how census takers used “artistic” forms of evidence to advertise and promote the census and explicate census results to the public. The article also suggests how social science historians have understood and used the new electronic environment of the Internet and the World Wide Web to present their data and findings.
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Bravo, Esteban García, Andrés Burbano, Vetria L. Byrd, and Angus G. Forbes. "The Interactive Image: A Media Archaeology Approach." Leonardo 50, no. 4 (August 2017): 368–75. http://dx.doi.org/10.1162/leon_a_01454.
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This paper examines the history of the influential Interactive Image computer graphics showcase, which took place at museum and conference venues from 1987 to 1988. The authors present a preliminary exploration of the historical contexts that led to the creation of this exhibition by the Electronic Visualization Lab (EVL), which included the integrated efforts of both artists and computer scientists. In addition to providing historical details about this event, the authors introduce a media archaeology approach for examining the cultural and technological contexts in which this event is situated.
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Moloney, Jules. "Kinetic Architectural Skins and the Computational Sublime." Leonardo 42, no. 1 (February 2009): 65–70. http://dx.doi.org/10.1162/leon.2009.42.1.65.
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The idea of the computational sublime has been introduced into discourse within the generative electronic arts. The author proposes that, for an artwork to exploit the sublime, the form and context in which the mapping of computational process occurs are crucial. He suggests that digital-analogue hybrids within an urban setting allow engagement with a wider audience and the capacity for the work to be surveyed over multiple timescales. To this end, a framework for the design of kinetic architectural skins is presented for artists to consider as a potential resource for collaboration.
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Nakajima, Masayuki. "Current Status and Problems of Computer Graphics Artists. Introduction: Image Creator, Now and Future." Journal of the Institute of Image Information and Television Engineers 53, no. 3 (1999): 320–21. http://dx.doi.org/10.3169/itej.53.320.
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