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Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of(...)
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Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of(...)
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Sonic experience : a guide to everyday sounds
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Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners. In a multidisciplinary work spanning musicology, electro-acoustic composition, architecture, urban studies, communication, phenomenology, social theory, physics, and psychology, Jean-François Augoyard, Henry Torgue, and their associates at the Centre for Research on Sonic Space and the Urban Environment (CRESSON) in Grenoble, France, provide an alphabetical sourcebook of eighty sonic/auditory effects. Their accounts of sonic effects such as echo, anticipation, vibrato, and wha-wha integrate information about the objective physical spaces in which sounds occur with cultural contexts and individual auditory experience. "Sonic experience" attempts to rehabilitate general acoustic awareness, combining accessible definitions and literary examples with more in-depth technical information for specialists.
Sonic experience : a guide to everyday sounds
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Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners. In a multidisciplinary work spanning musicology, electro-acoustic composition, architecture, urban studies, communication, phenomenology, social theory, physics, and psychology, Jean-François Augoyard, Henry Torgue, and their associates at the Centre for Research on Sonic Space and the Urban Environment (CRESSON) in Grenoble, France, provide an alphabetical sourcebook of eighty sonic/auditory effects. Their accounts of sonic effects such as echo, anticipation, vibrato, and wha-wha integrate information about the objective physical spaces in which sounds occur with cultural contexts and individual auditory experience. "Sonic experience" attempts to rehabilitate general acoustic awareness, combining accessible definitions and literary examples with more in-depth technical information for specialists.
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books
books
Publication:
March 2006, Montreal
March 2006, Montreal
Subject:
Acoustics
Acoustics
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books
books
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
Subject:
Acoustics
Acoustics
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Title:
Surface tension - supplement no 1
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Surface tension - supplement no 1
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Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Form:
books
books
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Subject:
Acoustics
Acoustics
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books
books
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$49.95
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Compositeur, architecte, mais aussi ingénieur civil et mathématicien, Iannis Xenakis (1922-2001), s'est sans répit investi dans la création, produisant une œuvre protéiforme marquée d'un engagement personnel indémenti. Né en Roumanie, il achève ses études en Grèce tout en s'engageant dans la Résistance durant la Seconde Guerre mondiale. Il est gravement blessé puis(...)
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Compositeur, architecte, mais aussi ingénieur civil et mathématicien, Iannis Xenakis (1922-2001), s'est sans répit investi dans la création, produisant une œuvre protéiforme marquée d'un engagement personnel indémenti. Né en Roumanie, il achève ses études en Grèce tout en s'engageant dans la Résistance durant la Seconde Guerre mondiale. Il est gravement blessé puis(...)
Title:
Iannis Xenakis : musique de l'architecture
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Compositeur, architecte, mais aussi ingénieur civil et mathématicien, Iannis Xenakis (1922-2001), s'est sans répit investi dans la création, produisant une œuvre protéiforme marquée d'un engagement personnel indémenti. Né en Roumanie, il achève ses études en Grèce tout en s'engageant dans la Résistance durant la Seconde Guerre mondiale. Il est gravement blessé puis condamné à mort dans son pays ; il est réfugié politique en France à partir de 1947, et débute sa carrière d'architecte chez Le Corbusier. Cet ouvrage rassemble pour la première fois l'ensemble des écrits de Iannis Xenakis consacrés à l'architecture et aux relations entre musique et architecture - à commencer par le texte fondateur «Musique, Architecture» (1971). Le dépouillement des archives personnelles de Xenakis a notamment révélé la richesse du matériel traitant d'architecture - articles, correspondances, conférences, écrits théoriques, réflexions programmatiques - complétant les esquisses et les projets architecturaux eux-mêmes. Complété d'un index critique illustré de l'ensemble des projets et réalisations (Sven Sterken), d'une large bibliographie (Makis Solomos) et d'un tableau chronologique biographique, le présent volume reprend le matériel originel de Xenakis (présenté et commenté par Sharon Kanach), structuré en quatre parties : «Les années Le Corbusier», «La ville cosmique et autres écrits», «Xenakis, architecte indépendant», «Les Polytopes».
Iannis Xenakis : musique de l'architecture
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Compositeur, architecte, mais aussi ingénieur civil et mathématicien, Iannis Xenakis (1922-2001), s'est sans répit investi dans la création, produisant une œuvre protéiforme marquée d'un engagement personnel indémenti. Né en Roumanie, il achève ses études en Grèce tout en s'engageant dans la Résistance durant la Seconde Guerre mondiale. Il est gravement blessé puis condamné à mort dans son pays ; il est réfugié politique en France à partir de 1947, et débute sa carrière d'architecte chez Le Corbusier. Cet ouvrage rassemble pour la première fois l'ensemble des écrits de Iannis Xenakis consacrés à l'architecture et aux relations entre musique et architecture - à commencer par le texte fondateur «Musique, Architecture» (1971). Le dépouillement des archives personnelles de Xenakis a notamment révélé la richesse du matériel traitant d'architecture - articles, correspondances, conférences, écrits théoriques, réflexions programmatiques - complétant les esquisses et les projets architecturaux eux-mêmes. Complété d'un index critique illustré de l'ensemble des projets et réalisations (Sven Sterken), d'une large bibliographie (Makis Solomos) et d'un tableau chronologique biographique, le présent volume reprend le matériel originel de Xenakis (présenté et commenté par Sharon Kanach), structuré en quatre parties : «Les années Le Corbusier», «La ville cosmique et autres écrits», «Xenakis, architecte indépendant», «Les Polytopes».
Form:
books
books
Publication:
October 2006, Marseilles
October 2006, Marseilles
Subject:
Acoustics
Acoustics
Form:
books
books
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$115.00
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On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation.(...)
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Summary:
On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation.(...)
Title:
Sound scenography: the art of designing sound for spaces
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On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation. The topic is framed by interviews and texts by guest authors within this discipline.
Sound scenography: the art of designing sound for spaces
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$115.00
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On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation. The topic is framed by interviews and texts by guest authors within this discipline.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
On listening
On listening
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which(...)
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which(...)
Title:
On listening
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which skilled listening can mediate new relationships with our physical environment and the people and other species that we share it with.
On listening
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which skilled listening can mediate new relationships with our physical environment and the people and other species that we share it with.
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books
books
Publication:
October 2013
October 2013
Subject:
Acoustics
Acoustics
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books
books
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$37.95
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Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of(...)
$37.95
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Summary:
Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of(...)
Title:
The order of sounds: a sonorous archipelago
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Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of sounds", François J. Bonnet makes a compelling case for the irreducible heterogeneity of ‘sound’, navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the ‘soundscape’ and ‘reduced listening’ demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound ‘itself’, nor an ‘ocean of sound’ in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.
The order of sounds: a sonorous archipelago
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Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of sounds", François J. Bonnet makes a compelling case for the irreducible heterogeneity of ‘sound’, navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the ‘soundscape’ and ‘reduced listening’ demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound ‘itself’, nor an ‘ocean of sound’ in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.
Form:
books
books
Publication:
May 2016
May 2016
Subject:
Acoustics
Acoustics
Form:
books
books
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$18.95
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par(...)
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par(...)
Title:
Le concert : Pink Floyd à Venise
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par des impératifs antagonistes de nappes sonores architecturées, de réverbérations acoustiques ingérables et de préservation du patrimoine classé, cet impossible concert s'inscrit à la fois dans l'histoire des grands concerts rock et dans celle des édifices flottants de la Sérénissime. Mais au lieu de fêter le Rédempteur, l'évènement virera finalement à la polémique et au fiasco.
Le concert : Pink Floyd à Venise
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par des impératifs antagonistes de nappes sonores architecturées, de réverbérations acoustiques ingérables et de préservation du patrimoine classé, cet impossible concert s'inscrit à la fois dans l'histoire des grands concerts rock et dans celle des édifices flottants de la Sérénissime. Mais au lieu de fêter le Rédempteur, l'évènement virera finalement à la polémique et au fiasco.
Form:
books
books
Publication:
May 2017
May 2017
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
Spectre n° 02 : résonances
Spectre n° 02 : résonances
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Le deuxième numéro de la publication annuelle consacrée à l'expérimentation sonore et musicale, coéditée par Shelter Press et l'Ina GRM – Groupe de Recherches Musicales, autour du concept de résonances, avec des contributions de Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage,(...)
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Le deuxième numéro de la publication annuelle consacrée à l'expérimentation sonore et musicale, coéditée par Shelter Press et l'Ina GRM – Groupe de Recherches Musicales, autour du concept de résonances, avec des contributions de Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage,(...)
Title:
Spectre n° 02 : résonances
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Le deuxième numéro de la publication annuelle consacrée à l'expérimentation sonore et musicale, coéditée par Shelter Press et l'Ina GRM – Groupe de Recherches Musicales, autour du concept de résonances, avec des contributions de Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage, The Caretaker, David Toop et Christian Zanési.
Spectre n° 02 : résonances
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Le deuxième numéro de la publication annuelle consacrée à l'expérimentation sonore et musicale, coéditée par Shelter Press et l'Ina GRM – Groupe de Recherches Musicales, autour du concept de résonances, avec des contributions de Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage, The Caretaker, David Toop et Christian Zanési.
Form:
books
books
Publication:
May 2020
May 2020
Subject:
Acoustics
Acoustics
Form:
books
books
Price:
$54.00
(available to order)
Summary:
The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In(...)
$54.00
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Summary:
The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In(...)
Title:
Stereophonica: Sound and space in science, technology and the arts
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The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In ''Stereophonica,'' Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century to visual representations of sonic environments today. Developing a uniquely interdisciplinary perspective, Ouzounian draws on both the history of science and technology and the history of music and sound art. She investigates the binaural apparatus that allowed nineteenth-century listeners to observe sound in three dimensions; examines the development of military technologies for sound location during World War I; revisits experiments in stereo sound at Bell Telephone Laboratories in the 1930s; and considers the creation of "optimized acoustical environments" for theaters and factories. She explores the development of multichannel "spatial music" in the 1950s and sound installation art in the 1960s; analyzes the mapping of soundscapes; and investigates contemporary approaches to sonic urbanism, sonic practices that reimagine urban environments through sound.
Stereophonica: Sound and space in science, technology and the arts
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The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In ''Stereophonica,'' Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century to visual representations of sonic environments today. Developing a uniquely interdisciplinary perspective, Ouzounian draws on both the history of science and technology and the history of music and sound art. She investigates the binaural apparatus that allowed nineteenth-century listeners to observe sound in three dimensions; examines the development of military technologies for sound location during World War I; revisits experiments in stereo sound at Bell Telephone Laboratories in the 1930s; and considers the creation of "optimized acoustical environments" for theaters and factories. She explores the development of multichannel "spatial music" in the 1950s and sound installation art in the 1960s; analyzes the mapping of soundscapes; and investigates contemporary approaches to sonic urbanism, sonic practices that reimagine urban environments through sound.
Form:
books
books
Publication:
February 2021
February 2021
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
Structure and synthesis
Structure and synthesis
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In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
$54.00
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Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Title:
Structure and synthesis
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$54.00
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In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Structure and synthesis
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$54.00
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Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Form:
books
books
Publication:
May 2021
May 2021
Subject:
Acoustics
Acoustics
