Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.

Themesicon: navigation pathOverview of Media Articon: navigation pathAudio
Pol (Granular Synthesis), 1998

icon: previous page

uniqueness. Interactive systems became pools of ideas; ‹interactive composing›[33] firmly established the process orientation of experimental music[34] in the domain of music electronics and computers.

The repercussions of interactive, process-oriented computer technology are becoming wider and wider. In addition to the sound installation and electro-acoustic music out of the research studios, in the 1990s club music as well was pervaded by processlike methods of creation. Autechre regard their CDs as sections of continuing processes.[35] Farmer's Manual elucidate the process idea by unpretentiously breaking off a performance by pulling the audio cable out of the laptop—to emphasize the fact that the music being heard is a segment from endless automatic design processes in the computer.[36] Markus Popp sees his aesthetics as a result of digital means of design. In his view, ‹electronic listening music,› one of many genre terms for the products of the ‹laptop scene› around the year 2000, requires an understanding of music that pays tribute to the immense technical influence on design processes—delinearized time, the split-second reshaping of sounds, the ergonomics of software


operation. «[T]he concept of ‹music› itself is almost tragically overshadowed by assumed notions of creativity, authorship, and artistic expression.»[37] Crackling sounds caused by a faulty CD player, the noises coming from computer hardware and caused by the (frequently intentional) incorrect use of software characterize the sound material. «Indeed, ‹failure› has become a prominent aesthetic … , reminding us that our control of technology is an illusion … .»[38]

The duo Granular Synthesis uses a sound synthesis technique on video recordings. During the acoustic granular synthesis new timbres are created from existing samples by iterating extremely short sound fragments according to different patterns. Using this method on sound and image synchronously, since 1991 Granular Synthesis have been presenting image-sound collages that could work like the technical simulation of cerebral malfunctions—however, it would remain unclear whether the person being portrayed cannot coordinate his or her movements or the audience cannot coordinate their perception as usual—see for example «Pole» (1998) with Diamanda Galas. In reality one is seeing an extreme example of everyday media

icon: next page