Sonic Art

This paper argues that anti-conservatory gesture fields is not merely an obscure stylistic artifact but a repeatable procedure for organizing action, archive, and institutional noise. The method combines performer-action topology, archive-based gesture analysis, and residue measurements over performance instructions in order to describe how post-Cagean silence logistics survives documentation. The resulting examples offer a unified account of Xenakian street notation across formal statements, equations, tabular measurements, and performance-action diagrams.

We present a formal framework for microtonal cluster asphyxiation that treats tonal syntax as a rigorous mathematical, computational, and psychotronic infrastructure. Our approach combines circuit-bent signal hijacking, contact-microphone feedback loops, and exact cohomological bounds to demonstrate that aleatoric radio feedback is both necessary and unrecoverable. Experimental case studies across standard corpora confirm that the proposed model isolates cadential residue with a precision previously reserved for margin notes.

This paper draws on recent theoretical and practical research into the morphology of sound and audiation. A morphology-based pedagogical framework for contemporary classical guitar is proposed. Shifting attention from traditional pitch-centred approaches toward the spectral and temporal behaviour of sound. It is a study that positions extended guitar techniques as structural materials whose sonic morphologies shape musical understanding. The discussion integrates related concepts including spatial acoustics, source bonding, reduced listening, deep listening, and audiation, forming a multidimensional model for understanding soundbased musical structures. This work explores how spectral qualities, gestural activity, and spatial perception contribute to the formation and interpretation of guitar morphologies. Analytical references to contemporary repertoire illustrate the transformation and interaction of structural materials, while the author's compositional studies demonstrate how such techniques may be organised into sound-oriented musical structures. Diagrams of morphological and audiative interconnectability are introduced to visualise relationships between perceptual, structural, and spatial domains. From a didactic perspective, a listening-centred approach to guitar education is advocated, where extended techniques are treated as equivalent structural components within a multi-layered soundscape. By integrating theory, compositional practice, and performance reflection, the study offers practical tools for performers, teachers, and researchers seeking to develop heightened aural sensitivity, technical control, and structural awareness in contemporary guitar music.

This article develops a theoretical and pedagogical model for audiation, grounded in the morphology of sound and principles of musical narrativity. Examining the perceptual and cognitive dimensions of resonance, the study integrates spectromorphological analysis, narrative theory, and psycho-physical gesture to construct a comprehensive framework for understanding sonic events. Through visual representations of spectral-temporal behaviour, learners engage with sound as a dynamic form. Such representations enable clearer recognition of sonic transformations and their structural implications. The Audiation Exercises apply these concepts in practice, they are designed to enhance perceptual awareness, skills in critical listening, imaginative projection, and interpretive reasoning. A performance-based learning and assessment system evaluates outcomes across musical insight, cognitive action, comprehension, and practice. Drawing on theoretical foundations from Smalley, Chatman, Gordon, and Schafer, the research positions audiation as a multidimensional activity that enhances creativity, listening, and expressive capability. The model highlights the importance of source bonding, inner and outer hearing, and narrative indeterminacy in shaping musical coherence. The study proposes that audiation is an evolving process requiring experiential engagement and reflection, offering a complementary method to traditional training. It also outlines future directions for expanding audiative, hermeneutical, and semiological inquiry, as well as further empirical testing of the Studies.

Il problema di che cosa sia una notazione musicale è, a livello teorico, decisamente più complicato di quanto possa sembrare perché immediatamente apre, a catena, al problema di cosa sia una notazione in generale e, di lì, alla definizione del segno in quanto tale. Personalmente, ho provato in (Valle 2002) a discutere alcune prospettive teoriche generali in relazione alla musica novecentesca, a cui mi permetto perciò di rimandare. Assumerò invece qui di seguito una prospettiva per così dire etnografica, discutendo un insieme di usi della notazione in relazione ad una congerie di progetti da me sviluppati che includono sempre un soggetto umano e un soggetto macchinale. Questa mossa indubbiamente circoscrive il problema introducendo un limite perimetrale biografico e uno, certamente più interessante, di tipo tecnologico. La messa in relazione tra umano e macchinale è uno snodo cruciale nello sviluppo e nella proliferazione dei linguaggi di programmazione, a partire dal COBOL (Ceruzzi 1998), e ha portato alla distinzione fondamentale tra alto e basso livello in relazione ai linguaggi stessi (Schneider e Gersting 2007). Nei linguaggi di programmazione, "alto livello" indica la prossimità all'umano mentre "basso livello" segnala la prossimità alla macchina. Dunque, i linguaggi di programmazione costituiscono un luogo di mediazione semiotica tra umano e macchinale, con tutta la complessità semiotica che consegue da questa duplicità (Valle e Mazzei 2017). Il riferimento alla programmazione non è accessorio o riduttivo in questo contesto, perché il perimetro biografico di cui si diceva sopra limita l'insieme dei progetti che discuterò a tecnologie di tipo computazionale nell'ambito del cosiddetto physical computing (O'Sullivan e Igoe 2004), e rende così pertinente per la notazione musicale lo stesso problema di mediazione semiotica che si presenta nei linguaggi di programmazione. Per questo motivo, almeno rispetto al livello di controllo, i progetti che in seguito verranno discussi includono sempre una dimensione computazionale. Ed è ovviamente a livello di controllo che la nozione di notazione diventa utile. A tal proposito, è stato osservato come la notazione musicale, in generale, sia insieme "memoria" e "progetto" (Ambrosini 1979). La notazione ha dunque una relazione strutturalmente ambigua, bifronte, con la temporalità: è

The terms 'ambiance' and 'atmosphere' are often used interchangeably to describe affective states of space that engage the senses, yet their implications for music have only recently become a focus of scholarly attention. Sound plays a central role within the practical production of ambiance, shaping how spaces are felt, experienced, and imagined. From this perspective, the genre of ambient music, originally conceived as background music, can be understood as a deliberate practice of filling environments with particular moods. This article contributes to this emerging conversation by advancing an original tripartite conceptual model that brings the concept of sonic ambiance into dialogue with soundscape and atmosphere, offering a framework for understanding ambient music as a spatial, affective, and embodied mode of sonic world-making rather than as a closed musical genre. The analysis suggests that the experience of sonic ambiance requires bodies to be enveloped within a sound field, to adapt to its presence, and to be drawn into its affective captivation. In this sense, ambient music is not merely background sound but an auditory mode of shaping spatial experience, generating collective feelings, and fostering environments of tranquility and absorption.

У сучасній музичній культурі унікальний саунд артиста постає як сукупність вокальнотембрових, інтонаційних, акустичних і продакшн-рішень, але крім того набуває змістовних форм його репрезентації у публічному просторі. Саме саунд дедалі частіше виконує функцію маркера ідентичності, що дозволяє слухачеві розпізнати виконавця ще до візуальної ідентифікації. У цьому сенсі йдеться не просто про «гарне звучання», а про комплексний мистецький конструкт, у якому поєднуються природні вокальні характеристики, стилістика виконання, мовна манера, аранжувальні принципи, технічна обробка голосу та загальна естетика подачі матеріалу. Унікальний саунд артиста слід розглядати як важливу форму репрезентації, що забезпечує цілісність мистецького образу в акустичному, візуальному та смисловому вимірах. Кейс Cher демонструє силу темброво-технологічної футуризації жіночого образу; Tina Turner ‒ єдність голосової експресії, тілесності та бунтарської естетики; Wellboy ‒ продуктивність локальної мовно-культурної специфіки як джерела впізнаваності. У всіх цих випадках саунд є не другорядною характеристикою, а ядром артистичної ідентичності. Саме тому питання формування унікального саунду має залишатися одним із центральних у сучасному саундпродюсуванні, вокальній педагогіці та мистецтвознавчому аналізі популярної музики.

In Nigeria's evolving civil-military landscape, music remains an underexplored medium for strategic engagement and cultural diplomacy. Existing scholarships rarely examine how musical forms reflect ecological consciousness or foster trust between defense institutions and local communities. This study addresses that gap by introducing Eco-Epistemology Theory, a decolonial framework that conceptualizes music as a sonic transcript of land-shaped behavior and communal worldview. It is a timely intervention in musicology, offering new insights into sound as epistemic infrastructure. The study aims to (1) conceptualize Eco-Epistemology Theory as a framework for understanding music's ecological logic in civil-military relations; (2) examine how musical forms like polyrhythms, melismatic phrasing, and call-and-response can be operationalized by the military to build trust and cultural alignment; and (3) evaluate the strategic outcomes of such engagements in counterinsurgency and outreach. Guided by Eco-Epistemology Theory and supported by Cultural Performance, Strategic Communication, and Social Identity theories, the study employs Critical Qualitative Content Analysis and Ecological Musicological Mapping. Data sources include NAF music videos, lyrics, broadcasts, and ethnomusicological literature. Findings reveal that ecology-derived music fosters epistemological alignment, transforming military perception from occupier to partner. This contributes to emotional resonance, cultural legitimacy, and sustainable peace building. The study advances musicology, civil-military studies, and decolonial theory, recommending sound-based engagement protocols and further research into ecological soundscapes as strategic tools.

Snoring is usually treated as a private annoyance, yet it is a complex bodily sound shaped by breath, vibration, and emotion. While medical research has examined snoring for diagnostic purposes, little attention has been given to its creative or musical potential. This study addresses that gap by analysing snoring as an involuntary vocalisation that can inform experimental composition. Using spectral analysis, rhythmic examination, phenomenological listening, and practice-based experimentation, the study identified clear patterns in breath-cycle shapes, micro-rhythms, noise-based timbres, and expressive gestures. These features were translated into a compositional model that supports breath-shaped phrasing, irregular pulse structures, timbre-led writing, and affective shading. The findings show that snoring contains structured and emotionally meaningful sonic qualities that can be transformed into coherent musical strategies. The study concludes that everyday bodily sound, when listened to closely, can expand contemporary compositional practice and open new ways of understanding the musicality of human life.

This article investigates the integration of Artificial Intelligence (AI) and Machine Learning (ML) within Italian Conservatories. By analyzing research initiatives at the Conservatorio di Catania and the Conservatorio di Palermo, we explore how deep learning frameworks-specifically JAX, PyTorch, and Google's Magenta-are transforming real-time sonification and algorithmic composition. The results suggest that AI functions most effectively as a "creative assistant," enhancing idea generation and providing personalized pedagogical feedback, though ethical concerns regarding intellectual property and creative standardization remain significant.

This article explores the role of Chilean electroacoustic music as a medium for articulating cultural memory, particularly in response to significant historical events and unresolved traumas of the past 50 years. It examines five relevant works by Iván Pequeño (*1945), Leni Alexander (1924-2005), Federico Schumacher (*1963), José Miguel Candela (*1968) and Rodrigo Cádiz (*1972), analysing their engagement with voice, historical memory, trauma and political testimony through the lenses of acousmatic theory, sonic phenomenology and trauma studies. The article argues that Chilean electroacoustic music serves not only as a record of historical violence but also as a performative space where memory can be inhabited, archived, transformed and made audible again. It highlights the use of human voice recordings as vehicles of memory, the integration of radio art and testimonial narratives and the concept of 'acousmatic storytelling' to engage listeners in a multi-valent listening experience that blurs the lines between abstract sound and historical index. Ultimately, the article demonstrates how Chilean electroacoustic music functions as 'embodied historiography', using sound to write history and engaging listeners' imagination, cognition and empathy to embrace through sound experiences of memory, political statements and justice.

A system for altering the states of human consciousness
involves the simultaneous application of multiple stim
uli, preferable sounds, having differing frequencies and
wave forms. The relationship between the frequencies
of the several stimuli is exhibited by the equation
g = s/f
where:
f= frequency of one stimulus;
g = frequency of the other stimuli of stimulus; and
n = a positive or negative integer which is different for
each other stimulus.

This text is part of an ongoing line of research on the historical and documentary value of sound recordings made during film production. It examines these materials not merely as technical resources, but as potential involuntary records of past sound environments—forms of unplanned archives and unprogrammed sound memory.

While film sound is often perceived as a natural component of storytelling, it is actually the result of a complex process involving specialized professionals. This note focuses specifically on production sound recorded during filming. Beyond their immediate purpose, these recordings —such as wildtracks and roomtones— often preserve traces of the sonic environments in which films were made. Especially during the analogue era, many such recordings were stored on fragile media and rarely catalogued systematically, yet today they stand as significant elements of an unintentional archive of their time.

The ideas developed here were first outlined in a Catalan post published on the author's website in November 2025.

A separate English post, titled "Listening Examples," provides selected audio examples related to this text: https://desons.cat/index.php?id=listening-examples.

This paper discusses the design, construction, and development of a multi-site collaborative instrument, The Loop, developed by the JacksOn4 collective during 2009-10 and formally presented in Oslo at the arts.on.wires and NIME conferences in 2011. The development of this instrument is primarily a reaction to historical network performance that either attempts to present traditional acoustic practice in a distributed format or utilises the network as a conduit to shuttle acoustic and performance data amongst participant nodes. In both scenarios the network is an integral and indispensible part of the performance, however, the network is not perceived as an instrument, per se. The Loop is an attempt to create a single, distributed hybrid instrument retaining traditionally acoustic interfaces and resonant bodies that are mediated by the network. The embedding of the network into the body of the instrument raises many practical and theoretical discussions, which are explored in this pa...

This paper discusses the design, construction, and development of a multi-site collaborative instrument, The Loop, developed by the JacksOn4 collective during 2009-10 and formally presented in Oslo at the arts.on.wires and NIME conferences in 2011. The development of this instrument is primarily a reaction to historical network performance that either attempts to present traditional acoustic practice in a distributed format or utilises the network as a conduit to shuttle acoustic and performance data amongst participant nodes. In both scenarios the network is an integral and indispensible part of the performance, however, the network is not perceived as an instrument, per se. The Loop is an attempt to create a single, distributed hybrid instrument retaining traditionally acoustic interfaces and resonant bodies that are mediated by the network. The embedding of the network into the body of the instrument raises many practical and theoretical discussions, which are explored in this pa...

In recent years, there have been numerous implementations of algorithmic systems that model the phenomena of emergent behaviour. In an attempt to reproduce the necessary conditions for emergent behaviour to occur, these systems employ bottom-up strategies through the ...

Il saggio analizza le pratiche dell'arte sonora contemporanea come forme di risposta critica e teorica all'Antropocene, indagando il modo in cui il suono si configura non come mero strumento documentario ma come pratica deterritorializzante capace di ridefinire le relazioni tra umano e non-umano. Attraverso il quadro concettuale elaborato da Gilles Deleuze e Félix Guattari — in particolare le nozioni di ritornello e deterritorializzazione — il contributo esamina una serie di figure artistiche e teoriche significative: dalle interazioni interspecifiche di David Rothenberg alle cartografie fluviali di Annea Lockwood, dall'ecologia acustica di Bernie Krause alle registrazioni idrofoniche di Jana Winderen, fino alle derive elettromagnetiche urbane di Christina Kubisch e alla sonic fiction decostruttiva di Mark Peter Wright e Angus Carlyle. Attingendo al realismo agenziale di Karen Barad, al materialismo vibrante di Jane Bennett e allo Chthulucene di Donna Haraway, il saggio sostiene che l'arte sonora dell'Antropocene non si limita a rendere udibile la crisi ecologica, ma produce spazi epistemologici e politici alternativi, nei quali le gerarchie sensoriali antropocentriche vengono sistematicamente disarticolate. Particolare attenzione è riservata alle tensioni interne a questo campo: la critica di Seth Kim-Cohen all'estetismo dell'ambience deleuziana, le implicazioni postcoloniali dell'archiviazione sonora globale e la problematica costruzione dell'autenticità nei documentari naturalistici mainstream. Il suono emerge, in conclusione, come territorio vibrante e relazionale in cui umani e non-umani negoziano collettivamente le condizioni di una possibile coesistenza terrestre.

Ancolie – In the Delirium of Reception investigates the intersections of sound, text, memory, and installation through a performance developed for the South London Gallery in 2006, staged within Chris Burden’s sculptural environment 14 Magnolia Double Lamps. The project uses this architectural setting as a catalyst for reimagining the gallery as a nocturnal, phantasmic site in which the voices of literary predecessors—most notably Gérard de Nerval and Antonin Artaud—can be re‑sounded, re‑embodied, and metaphorically “disinterred.” Drawing on concepts from Artaud, Kristeva, Benjamin, Blanchot, and Weiss, the essay explores how recorded and performed sound can operate as a psycho‑acoustic form of prosopopoeia: a means of transmitting the imagined, lost, or impossible voice of the dead.
The text traces the evolution of the performance Ancolie from earlier work, including Lost Narratives, in which decaying photographic slides and field recordings served as “found” sites of fragmentation and melancholic resonance. Through these materials, the essay examines parallels between photography’s spectral ontology and recorded sound’s capacity to conjure absent presence. It argues that sound—particularly noise, transmission, repetition, and the manipulated voice—functions as a mode of psychic excavation, opening a space where madness, melancholia, and visionary experience can be aesthetically navigated.
The performance itself is analysed as a layered assemblage of cicada recordings, manipulated environmental noise, Italian-language recitations of Nerval, and dislocated moving images, creating an unstable environment between dream, rite, and delirium. The work positions itself within a lineage of experimental radio, phantasmic transmission, and the alchemical interplay between composition and decomposition central to The Institution of Rot.
The concluding section proposes Ancolie as a germinal model for an “experimental audio library”: an evolving, mobile archive of texts, voices, and sound works that privileges suggestion over representation, and listening as an act of deep psychic and spatial engagement. This audio library extends the long-term trajectory of The Institution of Rot, shifting its focus from physical performance spaces to fluid, recorded spaces where the real and imaginary meet—and where the dead continue to speak.



Core Concepts

Disinterment in sound
Phantasmic voices
Prosopopoeia
Transmission
Melancholia / Black Sun
Madness / schizophrenia / altered states
Spectrality
The imaginary
The voice of the dead
Sound as excavation
Psycho-acoustic journey
Noise / mental noise
Sonic field
Disembodiment
Reproduction and corruption
Composition / decomposition


People and Intertextual References

Gérard de Nerval
Antonin Artaud
Julia Kristeva
Walter Benjamin
Maurice Blanchot
Roland Barthes
Brandon LaBelle
Allen S. Weiss
Diamanda Galás
C.G. Jung
Mike Nelson
Carmelo Bene


Texts, Works, and Key Terms from Literature

Les Chimères
El Desdichado
Artemis
Aurélia
Ancholia / Ancolie
The Disinherited poet
The Black Sun of Melancholia
The cavern (Nerval/Artaud motif)


Artistic and Sound Practices

Sound performance
Field recordings
Radio / shortwave interference
Feedback / white noise
Installation
Audio library
Experimental audio library
Imaginary Hospital Radio
Remote performance
Site-specific sound
Tone poems
Live remix
Found sound
Archival sound

Artistic and Sound Practices

Sound performance
Field recordings
Radio / shortwave interference
Feedback / white noise
Installation
Audio library
Experimental audio library
Imaginary Hospital Radio
Remote performance
Site-specific sound
Tone poems
Live remix
Found sound
Archival sound


Spaces + Sites

South London Gallery
14 Magnolia Double Lamps (Chris Burden)
Institution of Rot
Lost Narratives
Abney Park Cemetery
Lake Garda / Salo
Rovereto / River Leno
Ossuary
Naples / Posillipo


Themes and Motifs

Decay / dissolution
Memory and loss
Altered perception
Dream / second life
Ritual / nocturnal space
Melancholic landscape
The archive
Haunted weather
Death and transmission
The spectral photograph
Oblivion / forgetfulness
Identity and erasure
The imaginary city


Media and Technological Keywords

DAT recordings
35mm slides / decay
Video projection
Shortwave radio
Manipulated noise
Field microphone
Remote camera
Audio book / podcast
Noise-free headphones


Historical / Mythic References

Acheron
Orpheus
Sirens
Black sun
Saturnine
Chimeras
Melencolia (Dürer)
Tarahumara Indians
All Souls’ Day

Sonic practices in the Earth lab The essay relates to sonic practices that propose a critical response towards the planetary laboratory. Examples are concerned with climate change and the new conditions the natural environment is facing due to human transformations. I consider Earth Lab from the perspective of vitalist materialism, and in doing so, I examine sound works that explain conflicts related to extractivism practices and mining. Within this research, the Anthropocene era emerges as a pivotal epoch of crisis, deeply influenced by posthumanism philosophies. Here, the ethics of listening are not just a consideration, but a critical proposal for the development of a Sonic Anthropocene.

I am thrilled to share a selection of music from the EcoSono Institute and from the first EcoSono Festival of Environmental Music and Sound Art in Anchorage, Alaska, 2017. The music here celebrates the beautiful soundscape of Alaska and world ecoacoustics with a focus on computationally driven and computer-mediated approaches. The EcoSono philosophy and methodology emphasizes close collaboration with the sounds and energies of the natural world that we can hear or feel, but that rarely become part of human music. We do this using a combination of computeraided techniques, including digital transduction technology; interactive mediation based on the performance of natural materials, and sonification (the computational mapping of environmental data into sound). Some of this music is made in collaboration with scientists who help interpret the data for music and whose discoveries are interpreted into music by composers. Some of the music features unedited field recordings, set in count...

Der Beitrag kartiert, welche medien-und kulturwissenschaftlichen Fragen rezente und emergente, aber auch historische Technologien und Praktiken akustischer Schnittstellen für die Interface-und Dis/Ability-Forschung evozieren und was sie aus Per spekti ve der Sound Studies charakterisiert. Als Einleitung zum ersten deutschsprachigen Band, der akustische Interfaces als eigenständiges Sujet und medienkulturwissenschaftliches Forschungsfeld identifiziert und problematisiert, wird aufgezeigt, welche medienökologischen Dimensionen auditorische Schnittstellen haben, als Teil welcher Daten-und Prozesslogistiken sie fungieren, welchen Designparadigmen und welchen historischen und epistemischen Trajektorien sie folgen. Nicht zuletzt werfen die aktuelle Ubiquität miniaturisierter Smart Speaker und die verbale Komponente diverser Large Language Models eine Reihe von Fragen für unsere mediale Lage auf. Was sind akustische Interfaces und als Teil welcher Geschichten werden sie analysier- und rekonstruierbar? Welche Politiken, Ökologien und Umweltlichkeiten materialisieren sich in akustischen Interfaces? Was verbinden sie miteinander, was trennen sie voneinander? Welche Relationen ermöglichen akustische Interfaces und wie formatieren und limitieren sie diese? Wie werden akustische Schnittstellen ausgestaltet und welche ästhetischen und epistemologischen Paradigmen sind ihnen eingeschrieben? Wie adressieren, modellieren und ko-konstituieren akustische Interfaces menschliche Sinne und Körper? Und, nicht zuletzt, wie lassen sich die Praktiken und Technologien akustischer Interfaces überhaupt erforschen?

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

Lo scopo di questo saggio è illustrare lo spostamento dalla sfera visiva a quella uditiva nei processi memetici su TikTok e come esso contribuisca all'erosione dell'iconocentrismo proprio delle logiche partecipative su Internet. A questo scopo, è stato approfondito il concetto di 'aural turn' di Crystal Abidin e Bondy Valdovinos Kaye, esaminandone le origini e analizzando la struttura logico-semantica dei meme aurali, anche alla luce dell'approccio strutturalista proposto da Bradley E. Wiggins e G. Bret Bowers. Tuttavia, per cogliere questi aspetti nella loro complessità, è necessario partire da una definizione accurata di meme che può essere elaborata con l'ampliamento della ricerca dall'analisi degli artefatti mediali allo studio dei loro processi generativi. Alla luce di queste considerazioni, è possibile individuare il ruolo di TikTok all'interno dei recenti sviluppi, non solo della cultura partecipativa, ma anche del panorama mediale nel suo complesso. Inoltre, grazie all'approccio strutturalista, è possibile approfondire la definizione di aural turn identificando specifici generi di meme acustici.


In this essay, I will illustrate the shift from the visual to the auditory sphere in the memetic processes on TikTok and how this shift can contribute to the erosion of the iconocentrism inherent in Internet-based participatory cultural logics. To achieve these objectives, I will further explore the concept of 'aural turn' introduced by Crystal Abidin and Bondy Valdovinos Kaye by examining the origins of the phenomenon and analysing the logical-semantic structure of aural memes, also taking into account the structuralist approach proposed by Bradley E. Wiggins and G. Bret Bowers. However, in order to grasp these aspects in their complexity, it is necessary to start with an accurate definition of memes that can be achieved through the expansion of the field of research from the analysis of media artifacts to the study of the processes that produce them. With these considerations in mind, by analysing a corpus of examples, it is possible to identify the role of TikTok within recent developments, not only in participatory culture, but also in the mediascape as a whole. Furthermore, through the aforementioned structuralist approach, it is possible to deepen the definition of aural turn by identifying specific acoustic meme genres.

Proceedings of the 12th International Conference on Auditory Display, London, UK, June 20-23, 2006 ... MONITORING REAL-TIME DATA: A SONIFICATION APPROACH ... Agnieszka Roginska1, Edward Childs2, Micah K. Johnson3 ... 1AuSIM Inc, 3239 El Camino Real, ...

This paper introduces a revolutionary framework for understanding reality through the lens of sound and vibration-the "sonic vision of reality." Drawing from physics, music theory, and consciousness studies, we explore how the universe manifests as an infinite symphony where every element vibrates, resonates, and interconnects in perpetual dialogue. Through examination of fundamental principles including resonance, harmonics, cymatics, and patterns in nature, we demonstrate that sound is not merely an acoustic phenomenon but a universal language revealing the mechanisms underlying matter and consciousness. This paradigm shift invites us to perceive the universe not as a collection of separate objects but as a coherent vibrational field where we participate as both instruments and composers in the cosmic symphony.

Cosmic harmony has long been an integral element in philosophical and scientific efforts to understand the nature of the universe and human life. From Pythagorean musical ratios to Kepler's harmonic laws of planetary motion, early cosmological models also included proportionality, resonance, and order as the organizing principles. Likewise, modern geophysical investigations have revealed the fluctuating complexity of the magnetic field on Earth, while biochemical investigations increasingly reveal magnetoreception in a wide variety of living organisms. This paper presents an interdisciplinary conceptual framework that rethinks traditional harmonic worldviews and brings these concepts to bear on current research in geomagnetic fields, biological sensitivity, and human spatial behaviour. Based on this qualitative blend of historical data, a survey of geophysical literature, migration studies, and indigenous navigation systems including Australian Aboriginal songlines, the hypothesis is to be explored that geomagnetic settings may have served as subtle background constraints on human movement and cultural spatial practices over time. Instead of the claim of direct causality, the paper contends that geomagnetic variability might have acted with ecological, cognitive, and cultural factors to influence migration routes, navigational traditions and settlement persistence. The analysis provides a new lens of interpretation to explore human mobility and environmental cognition, drawing on perspectives from physics, anthropology, history of science, and cognitive ecology. This project describes an approach that aims to encourage research through empirical studies and inter-disciplinary discussions concerning the potential role of geomagnetic landscapes in human history.

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.

Esta introducción establece el marco teórico de A la sombra del fonógrafo, abogando por una orientación global e históricamente informada de los estudios sonoros. Partiendo de la metáfora de las "palabras heladas" de Rabelais, los autores desafían las narrativas teleológicas de la tecnología, proponiendo en su lugar un análisis del "giro medial" que concibe el sonido grabado como un objeto material y un "medio embrujado" vinculado a la memoria y al duelo. El texto distingue entre el oír cotidiano y la escucha como práctica ritualizada, explorando cómo las tecnologías de reproducción sonora intervienen en la memoria cultural. Al presentar la estructura del libro —dividida en Rituales de Encuentro, Agentes Grabados y Pasados Rastreables—, el capítulo sostiene que el fonógrafo actúa como un co-agente que permite a diversas comunidades globales remodelar identidades, forjar nuevas narrativas históricas y activar formas de resistencia política

У межах цієї системи понять відбувається диференціація чотирьох рівнів семіотичного аналізу понять: звук як фізика, аудіо як технологія, звучання як сприйняття і саунд як творчість. Така чотирирівнева модель дозволяє розмежувати об’єктивний і суб’єктивний, технічний і мистецький аспекти звукової діяльності, що є надзвичайно важливим у сучасних дослідженнях звукового мистецтва та аудіоінженерії. Кожен із цих рівнів може існувати ізольовано або ж проявлятися паралельно з іншими: звук є матеріалом для аудіо, але при цьому з аудіо відтворюється звук; аудіо стає носієм звучання, але звучання стає передумовою подальшого звукозапису в аудіо; саунд може стати і передумовою і наслідком взаємодії із попередніми трьома категоріями. У підсумку можна констатувати, що звук ‒ це фізична основа акустичних процесів; аудіо ‒ технічний спосіб звукової репрезентації; звучання ‒ перцептивна реальність взаємодії людини та звуку; а саунд ‒ результат інтенційного творення звукового простору, який не лише відтворює, а й формує смисли, емоції та культурні коди. Така системна диференціація дає змогу осмислити звукову діяльність як поліструктурний феномен, що поєднує природні, технічні, психологічні та мистецькі виміри акустичного буття.

A fuerza de ecos explora la noción de eco como fenómeno acústico, material y simbólico, atendiendo a su dimensión temporal, espacial y transformativa. A partir de referencias cinematográficas, mitológicas y filosóficas —que incluyen la tradición mística vinculada a Gurdjieff, el mito de Eco en Las metamorfosis de Ovidio y reflexiones contemporáneas sobre la escucha— el ensayo aborda el sonido como fuerza erosiva y resto vibratorio que inscribe huellas en la materia geológica. El eco es pensado no como mera repetición, sino como proceso de metamorfosis en el que sonido, territorio y cuerpo entran en una relación de mutua afección. Desde esta perspectiva, la escucha se configura como una práctica demorada y situada, capaz de percibir los vestigios sonoros que persisten en la porosidad de la piedra, la cueva y la memoria. El texto propone una lectura del eco como sendero vibratorio, articulando resonancia, materialidad y tiempo en una concepción expandida de lo sonoro.

The "Sounding Canvas" is an interactive art installation that transforms a traditional canvas into a dynamic, soundproducing interface. Users interact by touching different areas of the canvas, triggering a variety of sounds that appear to emanate directly from the artwork. This experience is facilitated by an embedded system comprising of capacitive sensors connected to an Arduino, a Raspberry Pi 4 for processing and sound generation logic, and a HiFi Berry Amplifier for audio output. The system employs a machine learning decisional algorithm in Python, ensuring that touch interactions result in evolving and varied auditory responses. Furthermore, each canvas can connect to a remote server, allowing multiple installations to share "touch events" in real-time, creating the potential for networked, participatory experiences. This paper details the architecture, implementation, and interactive qualities of the Sounding Canvas, highlighting its relevance as a responsive sound installation and a platform for sonifying touch-based sensor data.

Cet article explore l'expérience phénoménologique de réécriture du texte généré par IA, en refusant une opposition nette auteur/machine. À partir d'un "brouillon-pensée" fragmentaire, l'IA produit un "brouillon-machine" : flux texuel excessivement lisse, dépourvu de nervosité et de doute.
L'auteur identifie trois strates ontologiques du texte généré. D'abord, son statut de quasi-texte : il possède la forme du texte mais manque d'intention incarnée. Ensuite, l'absence d'origine assignable : il condense millions de textes antérieurs vectorisés, sans source unique. Enfin, sa fragilité ontologique rapprochée au personnage Ann Lee (fiction libre de droits) : il attend sa "seconde naissance" par la réécriture.
Cruciale : la double hantise. La machine hante par sa fluidité calculée ; nous hantons la machine en projetant du sens. Cette contamination réciproque rend l'authorship indécidable. Le texte final devient monstre hybride, girant entre intention et calcul, sans résolution.
Mots-clés: génération de texte, intentionnalité, ontologie, réécriture, hantise, indécidabilité, authorship

In the echo of its characteristically aggressive sound, the industrial movement deserves renewed critical attention, art historian Nicolas Ballet maintains in Shock Factory: The Visual Culture of Industrial Music. Spanning more than two decades -from the birth of the industrial scene in the early 1970s to the end of its second wave in the mid-1990sthis substantial volume investigates how the visual culture surrounding industrial music emerged as both a symptom and a critique of post-industrial life. Widely recognized as a countercultural genre, industrial also developed an idiosyncratic yet largely overlooked aesthetic and visual vocabulary that engaged in dialogue with postmodern artistic developments. The study examines for the first time how industrial artists mobilized collage, mail art, installation, video and performance as tools to interrogate the social and psychic effects of post-industrial capitalism, making visible the tensions between control, urban decay, transgression and embodied resistance. Focusing on key industrial artworks and performances across Europe, the United States and Japan, Ballet masterfully situates them within broader art-historical and cultural discourses while revealing their ongoing relevance as acts of visual and ideological defiance. The book is divided into three parts, tracing first the sociopolitical conditions of the grim post-industrial era of the 1970s that shaped the movement and its dystopian aesthetic, rooted in the legacy of the historical avant-garde. The second section delves into the shared fascination among some industrial artists with military and medical experiments, inflected by the theories of William S. Burroughs and Brion Gysin, alongside the fetishization of totalitarianism, criminality and pornography. The final part turns to the preoccupation with mysticism, occult ritual and body modification practices found in certain industrial works, inspired by the subculture of the Modern Primitives and cult figures such as Aleister Crowley, Austin Osman Spare and Anton LaVey. Across these sections, Ballet examines a wide range of multimedia artworks and performances, interpreting them as transgressive responses to the increasing standardization and social control that defined the era. His analysis draws fluidly on art history, cultural studies, philosophy, media theory, psychology, science fiction and gender theory to illuminate how industrial art negotiated the tension between power and self-expression.

We start by reading the audio signal as a sign; a signifier-signified construction which allows us to discover analogies between what Jean Baudrillard defines as the orders of appearances and what we introduce as the orders of the heard. Stage by stage through practice and research we study the signal’s ontological metamorphosis as it passes from the sacramental order to the order of maleficence and the order of sorcery, until it finally crosses the borderline from being a representation to being its own pure simulacrum. With this article we focus on aural simulacra the order of maleficence. In the realm of appearances these have been defined as signs or symbols that mask and denature a profound reality. They are referential and representational, but in a way that they dissimulate the realities behind them like their twisted doppelgängers. Simulacra of the order of maleficence are perversions of reality. If so, then which are the audio signals of the order of maleficence? The research is initiated by studying historical artworks associated with aural interpretations of bee flight, followed by stochastic observation of the natural acoustic reality. By utilizing these paradigms as references, we continue with experimenting with computer assisted techniques of creating new audible mimicries. Our research focuses on bioacoustics and by developing audio biomimetic techniques, we explore the aesthetic and conceptual potential of aural simulacra of the order of maleficence. Through a set of sonic processes, we delve into auto generative, autopoietic, responsive and algorithmically controlled modes of creation. In this article we discuss how the original naturally produced audio signal can be transformed into a sonorous caricature and depending on the way it balances between its signifier and its signified aspect; it may re-interpret naturally produced concrete audible events into a musical language which serves both the acousmatic and the non-cochlear prospects of contemporary sound art.

I am thinking of aural simulacra. Jean Baudrillard, speaking of things tangible defines the successive stages of the image. I try to follow his thinking and find analogies between the world of the visual and the ghostly reality of sound. I start by reading the audio signal as a sign and thus a signifier-signified construction. Then I introduce the orders of the heard. Following the signal's path toward its ontological metamorphosis as it passes from stage to stage, I now focus my hearing on the order of sorcery. Such signals are not captured or reproduced. They are conjured; copies with no original auralised out of virtually nothing. With this article I discuss the order of sorcery of the orders of the heard, the methodology of producing them and the effect they may have on the creative process as well as on the audience's appreciation.

This paper introduces an algorithmic composition system that translates real-time environmental data into dynamic soundscapes, creating a tangible connection between natural environments and sonic expression. The system derives a fundamental frequency based on Earth's rotational dynamics and latitude, integrating temperature, humidity, and atmospheric conditions to influence additional sound objects representing water, air, and precipitation. The framework employs techniques such as frequency modulation, vowels, and perceptual filtering to construct evolving sonic identities. This project remains a work in progress, primarily focused on artistic and aesthetic exploration, without claiming scientific rigor.

This paper introduces an algorithmic composition system that translates real-time environmental data into dynamic soundscapes, creating a tangible connection between natural environments and sonic expression. The system derives a fundamental frequency based on Earth's rotational dynamics and latitude, integrating temperature, humidity, and atmospheric conditions to influence additional sound objects representing water, air, and precipitation. The framework employs techniques such as frequency modulation, vowels, and perceptual filtering to construct evolving sonic identities. This project remains a work in progress, primarily focused on artistic and aesthetic exploration, without claiming scientific rigor.

En este capítulo, que forma parte de la obra homenaje a Jacques Fontanille, se propone aplicar la teoría semiótica de este autor francés a la comprensión del paisaje sonoro. En particular, se busca correlacionar la teoría de los niveles de pertinencia semiótica de Fontanille, a las dimensiones asociadas con las prácticas de escucha y descripción de paisajes sonoros, desde la propuesta pionera de R. Murray Schafer hasta enfoques semióticos contemporáneos como los de Almo Farina.

This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent.

Music plays a pivotal role in shaping Pan-African identity, fostering unity, and driving activism in Burkina Faso.
This study examines how Burkinabé musicians contribute to the dissemination of Pan-African ideals, exploring
their influence on resistance movements and collective identity formation. While Pan-Africanism has been
widely studied as a political and ideological framework, its sonic dimensions remain underexplored, particularly
in West Africa. Utilizing ethnographic and historical methodologies, this research underscores the role of music
as a conduit for identity, activism, and resistance. The study integrates interviews conducted via social media
with musicians, activists, and scholars, alongside archival analysis of music, lyrics, and historical narratives.
Data collection includes remote audience surveys and audio-visual recordings of performances, ensuring a
comprehensive understanding of music’s socio-political impact. Findings reveal that music in Burkina Faso is
not merely an artistic expression but a powerful tool for mobilizing communities and articulating political
resistance. Musicians act as cultural agents who reinforce narratives of unity and liberation, connecting Burkina
Faso’s struggles to broader Pan-African movements.By situating Burkinabé music within Pan-African
discourse, this study advances understanding of sound as a medium of political resistance and identity
construction. The research underscores the transformative power of music in shaping collective consciousness,
opening new pathways for exploring musical activism in African sociopolitical movements.