Music Thesis Database

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Simondon argues his philosophy is generalizable across all regimes of existence (physical, living, technological, psychosocial), but specific to the context of a given set of relations.What is the specificity of bioart in relation to related phenomena on the topic of biotechnology?The author contends that bioart is a heterogeneous field that is, in important ways, singular as an artistic approach to the biotechnosciences, while simultaneously being closely interlinked with DIYbio and biodesign, as well as biotechnology and the art world. Yasunao Tone, Carsten Nicolai and Ryoji Ikeda are three practitioners representative of electronic music and sound-art practices that emerged in the 1990s where sound materials not normally considered musical, such as digital clicks, glitches and bursts of white noise, are prevalent.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.This process, however, was not innocuous: It made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge.This research identifies an analogous process within the artistic realm: When Clement Greenberg delineated the concepts of opticality and color field as the main characteristics that defined Modernist painting, he conceived of these in a purely disembodied subject. This dissertation proposes a novel memetic framework and creative methodology to probe the mechanism underpinning the transmission of a composer’s intention to an audience, contending that cultural replicators—memes—drive our understanding of a composer’s intention.

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