Music Thesis Database

Consequently, people are being confronted with biotechnology’s socio-cultural impact and forced to formulate opinions on issues that touch upon notions of life, death and the future and meaning of humanity.A univocal opinion is absent and the debate on human enhancement shows many different and incommensurable positions.In this thesis the author describes the evolution of a poly-temporal, multi-agential, and techno-ecological artistic praxis, involving the development of a data-audio display to sense, audify and collect real-time temperature data; parameter mapping; sound design; dataset-based digital music composition; and data musification strategies.

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In this thesis, the author reframes the composting process as artistic material and collaborator, deploying a DIY/maker’s approach, connecting organic waste disposal, data collection and visualization as grist for sound art and music composition.

The key observable driving C[D]C is the heat generated by the compost.

I eschew an understanding of Bio Art that only emphasizes the practices, tools and processes from the biotechnology industry as the underlying requirement of the genre.

Rather than limiting our understanding of what Bio Art is, I argue for an opening up of our understanding of what Bio Art can be.

It represents a research path that brings relations between humans, technology, and living, nonhuman organisms to the fore.

My research seeks to understand how Bio Art can foster shared experiences between humans and nonhumans.

Bio Art, for this research, means artwork that incorporates living, nonhuman organisms.

Simondon adopts a relational ontology to argue that individuation, or how things come to be, is ongoing and processual.

The creative process allows the researcher to arrive at a deeper understanding of memetics and formalize the conceptual memetic framework and hypotheses described herein. and the Spectral Domain Microsound Amplification Software (SDMAS), along with a significant number of other works and projects not discussed in-text.

Thus theory and practice become interlocked in the search for evidence of memes in the creation of works of organized sound and the role that memes play in an audience’s ability to (re)construct the intention of a composer. Each of these works/projects contributed significant shifts in understanding the role that memes may play in intention/reception and are reflected upon in-text. Ph D thesis, The University of Melbourne, Australia, 2017.

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