Show simple item record

dc.contributor.authorPigott, Jon
dc.date.accessioned2018-03-20T11:04:34Z
dc.date.available2018-03-20T11:04:34Z
dc.date.issued2016-04-15
dc.identifier.citationPigott, J. (2016) 'Electromechanical Perspectives of Sound and Music', Alternative Histories of Electronic Music conference, 14-16 April 2016. Science Museum Dana Research Centre, Queen’s Gate, London.en_US
dc.identifier.urihttps://ahem2016.files.wordpress.com/2016/04/ahem-2016-programme.pdf
dc.identifier.urihttp://hdl.handle.net/10369/9434
dc.descriptionThis paper was given at the AHEM 2016 conference. Article published in 2017. Across Fields: sound, art and technology from an electromechanical perspective. Organised Sound 22(2): 276–285en_US
dc.description.abstractFrom a technological necessity in projects like the Telharmonium, to a creative opportunity enjoyed by current sound installation artists, the electromechanical condition is a mainstay of electronic and experimental music and sound art. As a core component of loudspeaker technology in a fully electrified and digitised sound world it is also likely to remain a mainstay, as long as hearing continues to be linked to the mechanical world of acoustics. In this way the electromechanical is simultaneously both outmoded and future-proofed. This paper will trace the electromechanical condition throughout electrified sound and music, identifying its role in sound modification, transmission and production. This provides a non-human centric perspective of electronic music making that aims to avoid technologically deterministic and linear historical narratives. Certain music technologies that have made particular use of electro-mechanics such as the speakers of the Ondes Martenot, the rotating Leslie loudspeaker and mechanical reverberation devices will be explored as a general technological context. Particular examples of creative practice that forefront the electromechanical condition will be presented from the canon of American 1960s sound art and experimental music practice, including the work of practitioners such as Alvin Lucier and David Tudor. Connections will be made between these examples and the work of kinetic artists such as Len Lye, Jean Tinguely and Takis. Here the electromechanical will be presented as a kind of transitionary media between materialised and dematerialised modes of sonic and visual art practice, making its presence felt at a time of burgeoning computer power and systems thinking. Current sound art practice that uses the electromechanical as a core creative element will be discussed. This will include works by practitioners such as Peter Bosch and Simone Simons, Daniel Wilson, Andrea Valle as well as original pieces by the author. In the context of easily accessible digital technologies of synthesis and control these current electromechanical approaches are used to explore tensions between the control and the autonomy of sounding objects and materials.en_US
dc.language.isoenen_US
dc.relation.ispartofseriesAlternative Histories of Electronic Music conference 2016;
dc.titleElectromechanical Perspectives of Sound and Musicen_US
dc.typeConference paperen_US
dcterms.dateAccepted2016
rioxxterms.versionNAen_US


Files in this item

FilesSizeFormatView

There are no files associated with this item.

This item appears in the following collection(s)

  • FabCre8 [30]
    FabCr8 is a new, multi-disciplinary research and enterprise group based in Cardiff School of Art & Design with an interest in emerging technologies

Show simple item record