ARRAY2019 Magazine
Contributing person | All rights remain with the authors. | |
Contributing person | Gottfried, RAMA | |
datacite.description.SeriesInformation | This Magazine is published by the International Computer Music Association ICMA | |
datacite.description.TableOfContents | Editorial by Rama Gottfried and Miriam Akkermann........p. 3 Feeling Like an Agent by Ritwik Banerji......................p. 4 Intimacy with Objects by Heather Frasch...............................p. 8 Initial Remarks on Analyzing Acousmatic Music from the Perspective of Multi-agents by Kıvanç Tatar..............p. 11 Instrument Environments Andrea Neumann in conversation with Rama Gottfried...............................................p. 17 Hand/Cup/Stone by Evelyn Ficarra .................................................................p. 23 Defining Ecosystemic Agency in Live Performance. The Machine Milieu Project as Practice-Based Research by Agostino Di Scipio and Dario Sanfilippo.................................p. 28 In Memorium: Dexter Morrill by Chris Chafe..........................................p. 44 In Memorium: Mark Ballora by Dafna Naphtali and Margaret Schedel.................................................p. 45 Diversity Statement by ICMA....p. 49 | |
References to related material | http://dx.doi.org/10.25532/OPARA-45 | |
Type of the data | Text | |
Total size of the dataset | 3179952 | |
Author | Akkermann, Miriam | |
dc.contributor.other | International Computer Music Association ICMA | |
Upload date | 2019-12-06T09:42:10Z | |
Upload date | 2026-05-18T14:45:39Z | |
Publication date | 2026-05-18T14:45:39Z | |
Data of data creation | 2019 | |
Publication date | 2019 | |
Abstract of the dataset | For the 2019 issue of Array, we focus on the idea of“Agency”in electronic and computer music, explored through the artistic and theoretical reflections of composers, performers, engineers, and musicologists. How do algorithms and artificial intelligences create a particular charac- ter through the decisions they make? How do we interpret the intention of nonhuman agents in the process of musical creation and analysis? Is it possible to tell the difference between the intention of outside agencies from a projection of our own biases? How does the surrounding context integrate into the work itself? The writings present a collection of contemporary approaches and perspectives from the field, examining topics ranging from the agency of digital signal processing and sonic analysis algorithms, to the design of inclusive instrument systems, object based composition, and relational aesthetics. This issue is accompanied by a set media examples: http://dx.doi.org/10.25532/OPARA-45 | |
Public reference to this page | https://opara.zih.tu-dresden.de/handle/123456789/2336 | |
Public reference to this page | https://doi.org/10.25532/OPARA-46 | |
dc.language | eng | |
Publisher | Technische Universität Dresden | |
Licence | Attribution-NonCommercial-NoDerivatives 4.0 International | |
URI of the licence text | http://creativecommons.org/licenses/by-nc-nd/4.0/ | |
Specification of the discipline(s) | 4::44::409 | |
Title of the dataset | ARRAY2019 Magazine | |
Project abstract | Medienbeilage des Magazins ARRAY2019 | |
Project title | ARRAY2019 |
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