Hostname: page-component-848d4c4894-8kt4b Total loading time: 0 Render date: 2024-06-29T09:05:59.692Z Has data issue: false hasContentIssue false

Listening to Yourself through the Otherself: On Background Noise Study and other works

Published online by Cambridge University Press:  28 June 2011

Agostino Di Scipio*
Affiliation:
Via Salaria Antica Est 33a, 67100 L'Aquila, ITALY
*

Abstract

In this paper I describe a work of mine, Background Noise Study, as a starting point to raise questions of broader relevance for current artistic practices. Issues are presented in terms varying from technical and specific, to more philosophical and general (system-theory, biocybernetics, ecology). Excursions are made into the music-theoretical (understanding of key issues in the sound arts, such as ‘space’, ‘performance’, ‘form’ or ‘timbre’) and the political (politics of sound, biopolitics of performance and listening).

Type
Articles
Copyright
Copyright © Cambridge University Press 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Baas, N.H., Emmeche, C. 1997. On Emergence and Explanation. Intellectica 25: 6783.Google Scholar
Benjamin, W. 1955. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. In Walter Benjamin, Schriften. Frankfurt am Main: Surhkamp.Google Scholar
Collins, N. 2006. Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge.Google Scholar
De La Motte, H. 2008. Klangkunst: Jenseits der Kunstgattungen. Musik-Konzepte 11: 523.Google Scholar
Di Scipio, A. 1994. Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music’. In Proceedings of the International Computer Music Conference. San Francisco: ICMA, 202208.Google Scholar
Di Scipio, A. 2003. Sound is the Interface: From Interactive to Ecosystemic Signal Processing. Organised Sound 8(3): 221249.CrossRefGoogle Scholar
Di Scipio, A. 2005a. Hörbare Ökosysteme. Live elektronische Kompositionen 1993–2005. Compact disc, RZ 10015.Google Scholar
Di Scipio, A. 2005b. Klangstaub. Die Notwindigkeit einer aesthetischen Orientierungslosigkeit. Positionen 64: 4548.Google Scholar
Di Scipio, A. 2008. Emergence du son, son d'emergence. Intellectica 48–9: 221249.Google Scholar
Green, O. 2008. Pondering Value in the Performance Ecosystem. eContact! (Internet review of the Canadian Electroacoustic Community) 10(4); http://cec.concordia.ca/econtact/10_4/green_ecosystem.html.Google Scholar
Jørgensen, S.E., Müller, F. 2000. Handbook of Ecosystem Theories and Management. Boca Raton, FL: Lewis Publishers.Google Scholar
Lucier, A. 1995. Reflections. Interviews, Scores, Writings, ed. G. Gronemeyer and R. Oehlschlägel. Cologne: Edition MusikTexte.Google Scholar
Maruyama, M. 1963. The Second Cybernetics: Deviation-Amplifying Mutual Causal Processes. American Scientist 5(2): 164179.Google Scholar
Maturana, H., Francisco, Varela. 1980. Autopoiesis and Cognition: The Realization of the Living. Dordrecht: D. Reidel Publishing.CrossRefGoogle Scholar
Mengal, P. 2006. The Concept of Emergence in the 19th Century: From Natural Theology to Biology. In B. Feltz, M. Crommelinck and P. Goujon (eds.), Self-Organization and Emergence in Life Sciences. Dordrecht: Springer Verlag, 215224.CrossRefGoogle Scholar
Meric, R. 2008. Le bruit de fond est-il un son? À propos d’Écosystèmes audibles 3a d'Agostino Di Scipio. Filigrane 7: 197213.Google Scholar
Mersch, D. 2002. Ereignis und Aura. Untersuchungen zu einer Ästhetik des Performativen. Frankfurt am Main: Surhkamp.Google Scholar
Morin, E. 1977. La méthode 1. La nature de la nature. Paris: Édition du Seuil.Google Scholar
Morin, E. 2004. La vita della vita, trans. Gianluca Bocchi and Alessandro Serra. Milan: R. Cortina Editore.Google Scholar
Mulder, J. 2010. The Loudspeaker as Musical Instrument. In Proceedings of the Conference on New Interfaces for Musical Expression (NIME), Sydney, Australia: 13–18.Google Scholar
Prominski, M. 2007. Ökosysteme entwerfen. In U. Eisel and S. Körner (eds.), Landschaft in einer Kultur der Nachhaltigkeit, Band 2. Kassel: Universität Kassel.Google Scholar
Rüth, U. 2008. Stimmung, Atmosphäre, Aura. Musik-Konzepte 11: 6784.Google Scholar
Schröder, J. 2008. Klangkunst von Komponisten: Emergente und performative Aspekte. Musik-Konzepte 11: 99114.Google Scholar
Solomos, M. 2008. Musica contemporanea e società. Alcune questioni. Paper presented at the Symposium Musicheria.Net, Como.Google Scholar
Solomos, M., Meric, R. 2008. Ecosystems and Emergent Structures in Di Scipio's Music: Music Theoretical and Philosophical Aspects. In Proceedings of the Colloque Internationale de Musicologie, University of Thessaloniki: 156–9.Google Scholar
Varela, F. 1992. Autopoiesis and a Biology of Intentionality. In Barry McMullin and Noel Murphy (eds.), Autopoiesis and Perception. Dublin: Dublin City University.Google Scholar
Visetti, Y.M. 2004. Contructivismes, émergences: une analyse sémantique et thématique. Intellectica 39: 229259.Google Scholar
von Ameln, F. 2004. Konstruktivismus. Tübingen and Basle: A. Francke Verlag.Google Scholar
Waters, Simon. 2007. Performance Ecosystems: Ecological Approaches to Musical Interaction’. Proceedings of the Electroacoustic Music Studies Network 2007. http://www.ems-network.org/spip.php?article278.Google Scholar