Interactive Composition: An Interdisciplinary Musical Approach

This paper defines interactive composition as a creative dynamic between writing and reading music, based on the empirical foundation of the digital reading of musical scores transcribed onto computer, the effect produced by listening to sound sequences, and the memorisation and identity of these sequences in the temporal continuum

Sound Design or Musical Design, Provisional Problematisation: Thoughts on James Murphy’s Subway Symphony Project

In recent years, sound design, a design discipline long considered an intrinsically functional genre, has increasingly integrated sophisticated and intentionally musical sound artefacts. Jingles, “sonotypes”, but also sounds for warnings, confirmations, and even ambient sounds are sometimes chosen for their musical quality, as a part of a more creative process rather than serving a strictly functional objective. Sound design has developed into a recognized and distinguishable artistic form and a generally accepted discipline (Schafer, 1977), and given this increasingly rich acoustic dimension, has evolved into what is known today as “musical design”.

Music Technology

A methodological reflection on the objectives of the computer music composition facilitates the transitions from a logical use or a rationalised proceeding of technological tools to the domain of the aesthetic.

Tracking the Creative Process in Music

Sound design covers different domains: visual and digital arts, cinema and TV, architecture and urban environment, advertising, ecology and acoustic regulation, industry, communication and marketing. However, despite a permanent interest as shown in specialised publications – magazines, blogs, podcasts, etc. literature dedicated to historical, practical, epistemological issues and different collaborative research projects such as Sonic Interaction Design.

Sound Design and Creation

This mutation is all the more interesting as it leads to going beyond the logic of boundaries between these universes and their “natural” hierarchy in the dominant aesthetic of which this model is the bearer and largely inspires the reflection of this text which seeks to underline the return to musical sound against or with machine sound in sound design for a long time limited to this machine sound.

Analysis of Sound Design Practices

The purposes of this article is to describe (a) the general framework of the project; (b) the methodology of the ongoing study (collaborative tools, writing and sending a questionnaire); (c) initial developments and results-terminology and definition, translation issues, conception of a database, listing of professionals and different institutions in Europe.

An ecology of auditory attention: from Ecosound to Soundstainability

This article proposes an interdisciplinary conceptualization of the ecology of auditory attention, based on two complementary notions: ecosound, defined as an integrated methodological framework for measuring the attentional quality of sound environments, and soundstainability, understood as a critical and normative horizon aiming to embed auditory sustainability at the heart of public health, urban planning, and social justice policies. The analysis hinges on an articulation between the ontology and epistemology of sound, the psychology of attention, environmental medicine, and the critical anthropology of listening. By combining experimental data, philosophical perspectives, and policy frameworks, the article shows that auditory attention constitutes the convergence point at which physiological, cognitive, social, and cultural issues meet. It argues for recognizing auditory attention as a common good and for inscribing it within a political ecology of the sensible.

ECOLOGY

The Gedser Wind Turbine

The proposed artefact is an electricity-generating wind turbine that can be considered the mother of modern wind turbines. It was designed by Johannes Juul, a Danish electrical engineer, in the 1950s, in the previous century. In the context of the original ARIAD/R project (to give a rebirth of old/forgotten invention), J.Juul's innovation meets a number of criteria. It has gone through several cycles of resurgence and, today, is regaining a certain legitimacy. In addition to providing a historical perspective on wind energy and Denmark's specificity in this field, the project also enables the originality of the prototype to be presented in a variety of contexts - economic, industrial, cultural and social. It also recognizes its creator, rehabilitates his invention and describes the Danish model of alternative energy at a time when questions about environmental protection are being raised around the world, particularly following the Cop21 summit held in Paris in autumn 2015.

The EV (Electric Car): Chronicle of a resurgence foretold

Strictly speaking, there is no single prototype to represent the EV (Electric Vehicle). There are prototypes, and the principle of resurgence concerns the concept of the EV as a whole, rather than a specific artifact. This document deals more specifically with the private electric car (the EV), making a distinction with the electric vehicle (the EV), which includes all electric vehicles, whatever their mode of traction - vehicles for transporting goods and passengers by rail, cable or road - locomotive, tramway, trolley, funicular, cable car, truck, bus, but also carts and other quads, motorcycles, bicycles, electric wheels and even electric utility vehicles. The latter are not covered in this document, even if certain characteristics are common to all electric vehicles. The aim is to highlight the various stages in the resurgence of the EV - a clean, green, high-performance and functional automobile from the outset - and to analyze its successive failures.