Filed under book | Tags: · art, language, linguistics, meaning, semiotics, sound recording
As Lévi-Strauss writes: “These innovatory ideas, towards which I was no doubt drawn by my own thought but as yet with neither the boldness nor the conceptual tools necessary to organize them properly, were all the more convincing in that Jakobson’s exposition of them was performed with that incomparable art which made him the most dazzling teacher and lecturer that I had ever been lucky enough to hear.”
This book is marked by Jakobson’s elegance and demonstrative powers. Jakobson never pursues abstract and sometimes difficult course of his argument without illuminating it by examples from a great variety of languages and from the arts.
Originally published as Six leçons sur le son et le sens by Les Editions de Minuit, Paris, 1976.
Translated by John Mepham
Preface by Claude-Lévi Strauss
Publisher The MIT Press, 1978
Filed under thesis | Tags: · art, code, computing, language, live coding, programming, software, software art, sound recording, synaesthesia, visual programming
“We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both.
Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts.
We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art.”
Goldsmiths, University of London, October 2011
Supervisor Geraint Wiggins
Co-supervisor Mark d’Inverno
Filed under book | Tags: · 1960s, 1970s, art, composing, computer music, electroacoustic music, electronic music, experimental music, fluxus, intermedia, music, music history, music theory, performance, sound recording, tape music
The journal Source: Music of the Avant-garde was and remains a seminal source for materials on the heyday of experimental music and arts. Conceived in 1966 and published to 1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many others. A pathbreaking publication, Source documented crucial changes in performance practice and live electronics, computer music, notation and event scores, theater and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music.
Publisher University of California Press, Berkeley, CA, 2011
Roth Family Foundation Music in America Books series
ISBN 0520267451, 9780520267459
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