scholarly journals Acousmatic Music: Principles of Graphic Visualization

2020 ◽  
Vol 3 (1) ◽  
pp. 37-47
Author(s):  
Nataliia Danchenko
Keyword(s):  
Graphic Visualization ◽  
Acousmatic Music

The economic strength and tax capacity of the Krasnoyarsk Krai: Challenges and the prospects for development

2020 ◽  
Vol 18 (4) ◽  
pp. 642-651
Author(s):  
V.V. Zozulya ◽  
I.S. Goryunova ◽  
I.V. Zozulya
Keyword(s):  
Sustainable Development ◽  
Import Substitution ◽  
Krasnoyarsk Krai ◽  
Resource Potential ◽  
The Sustainable Development ◽  
Comparative Analyses ◽  
Graphic Visualization ◽  
Further Development ◽  
Tax Capacity

Subject. The article discusses the prospects for the development of the Krasnoyarsk Krai and the implementation of the import substitution programme. Objectives. The article aims to analyze the tax potential of the Krasnoyarsk Krai, highlight the main problems, and identify possible directions for further development of the Krai. Methods. For the study, we used systems and institutional approaches, the methods of statistical and comparative analyses, and data tabular and graphic visualization. Results. The article identifies the main obstacles to the sustainable development of the Krasnoyarsk Krai. Conclusions. The Krasnoyarsk Krai has a strong economic and resource potential for further development, which is not being implemented properly.

scholarly journals Sound-as-Art: The Rise of the Corporeal and Noise in Twentieth-Century Art Practice

2021 ◽  
Author(s):  
◽  
Chris Black
Keyword(s):  
Twentieth Century ◽  
Sound Art ◽  
Art Practice ◽  
Sonic Art ◽  
Field Form ◽  
Acousmatic Music ◽  
The Relationship

<p>This thesis explores the relationship between human corporeality, space, sound and noise in twentieth-century art. The thesis introduces some novel concepts, notably that corporeality, noise and the notion of an expanded field form the bedrock of contemporary sound-based art practice, or what the author refers to as sound-as-art. The terms Corporeal Sound Art and Non-Corporeal Sonic Art are introduced as a way to highlight the traditional distinction between corporeally inclusive sound art and corporeally exclusive acousmatic music. Ultimately, this thesis extols extramusical elements in the realization of sound-based artwork and champions human corporeality and noise as central concerns for sound artists and sonic artists in our current age of digital mediatization.</p>

Space, Sound, and Acousmatic Music

2015 ◽  
pp. 205-220
Author(s):  
Annette van de Gorne
Keyword(s):  
Acousmatic Music

Routing Vulnerabilities

2011 ◽  
pp. 110-118
Author(s):  
Lech J. Janczewski ◽  
Andrew M. Colarik
Keyword(s):  
The Internet ◽  
Graphic Visualization ◽  
Primary Difference

The graphic visualization of the Internet is usually presented as a mesh of connections among millions of nodes engaged in the transmission of billions of messages. These connections can be local (administered by the owner of the systems connected to the node) or general (the owner is responsible for a node or several nodes). The primary difference is the extent of control over the connected systems to the node(s).

scholarly journals Memory, Expectation and the Temporal Flux of Acousmatic Music

2020 ◽  
Vol 25 (2) ◽  
pp. 205-213
Author(s):  
Michael Gatt
Keyword(s):  
Active Listening ◽  
Compositional Techniques ◽  
Temporal Experience ◽  
Sense Of Time ◽  
Acousmatic Music

This article concerns the temporal experience of acousmatic music, how the music can impact a listener’s sense of time passing and the implications of memory and expectations of auditory events and their perceived connections to one another. It will outline how memory and schemas lead to predictions in the immediate future and larger expectations of a work’s form. An overview of the temporal listening framework for acousmatic music will be provided to show the interrelationship between memory and expectations and how they influence one’s listening focus in the present. Trevor Wishart’s Imago will be used to illustrate how one might compose an acousmatic work to promote active listening using compositional techniques that engage personal schemas and those built through the course of experiencing the piece.

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