03481oam 22005534a 450 991015560530332120220721174839.01-55458-969-X10.51644/9781554589692(CKB)2550000001308332(SSID)ssj0001700092(PQKBManifestationID)16554428(PQKBTitleCode)TC0001700092(PQKBWorkID)15073408(PQKB)25183274(MiAaPQ)EBC4737058(OCoLC)894172078(MdBmJHUP)muse35598(DE-B1597)667225(DE-B1597)9781554589692(EXLCZ)99255000000130833220140714e20142014 uy 0engurcnu||||||||txtccrRepresenting Sound[electronic resource] Notes on the Ontology of Recorded Musical Communications /Jay Hodgson with Steve MacLeodWaterloo, Ontario :Wilfrid Laurier University Press,2014.©20141 online resource (123 pages) color illustrationsBibliographic Level Mode of Issuance: Monograph1-306-82790-6 Includes bibliographical references.Table of Contents -- Introduction -- Sculptures -- Acoustic Iconography -- Psychoacoustic Profiles -- Psychoacoustic Encoding -- Audio Transduction -- The Cybernetic -- Conceptual Infrastructure -- Interpellation -- Conjuring Tricks -- Tracking I: Performance as Programming -- Tracking II: Programming as Performance -- Tracking III: Lateral Dynamics Processing -- Conclusion -- Acknowledgements -- About the AuthorsRepresenting Sound elucidates the base technical ontology, the machine essence, of every recorded musical communication. In so doing, it suggests the broad contours of an unprecedented theoretical basis for considering recording practice that posits no fundamental relationship between it and live performance. Representing Sound thus complicates common conceptions of sound to include different ontological states. This seemingly simple notion--that the acoustic phenomena we encounter in concert are, by nature, different from those we encounter when we listen to records--should have profound consequences for the way everyone, from musicologists to rock stars, considers recording practice. In the tradition of books like Marshall McLuhan's and Quentin Fiore's The Medium Is The Massage (1968), Representing Sound sets its text within more than one hundred original visual artworks, each designed to reinforce the essay's broader creative resonances. This allows readers to approach the larger ontological argument either atomistically (i.e., on a frame-by-frame basis) or holistically, depending on their creative or analytic needs. In this way, Representing Sound provides a possible model for creative scholarly work in the impending post-book era.SoundRecording and reproducingPsychological aspectsMusicPhilosophy and aestheticsSoundRecording and reproducingPsychological aspects.MusicPhilosophy and aesthetics.621.3893Hodgson Jay1976-891675MacLeod SteveMdBmJHUPMdBmJHUPBOOK9910155605303321Representing Sound1999294UNINA