03727nam 2200625 450 991046500800332120200520144314.00-262-32094-0(CKB)3710000000202171(EBL)3339835(SSID)ssj0001291526(PQKBManifestationID)11705397(PQKBTitleCode)TC0001291526(PQKBWorkID)11249193(PQKB)10605644(MiAaPQ)EBC3339835(OCoLC)884725749(OCoLC)889263887(OCoLC)968173659(OCoLC)1055400804(OCoLC)1066452702(OCoLC)1081296780(OCoLC-P)884725749(MaCbMITP)9886(Au-PeEL)EBL3339835(CaPaEBR)ebr10897569(CaONFJC)MIL631989(OCoLC)884725749(EXLCZ)99371000000020217120140730h20142014 uy 0engur|n|---|||||txtccrThe rhythmic event art, media, and the sonic /Eleni IkoniadouCambridge, Massachusetts ;London, England :The MIT Press,2014.©20141 online resource (130 p.)Technologies of Lived AbstractionDescription based upon print version of record.0-262-02764-X Includes bibliographical references and index.Contents; Series Foreword; Acknowledgments; Introduction: Abstract Audio; 1 Virtual Digitality; 2 Hypersonic Sensation; 3 Rhythmic Time; Conclusions: Rhythm and Event; Notes; References; Index"The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In 'The Rhythmic Event', Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective. 'The Rhythmic Event' seeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm - detached, however, from the idea of counting and regularity - can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become."--Publisher's description.Technologies of lived abstraction.Electronic musicHistory and criticismAvant-garde (Music)Electronic books.Electronic musicHistory and criticism.Avant-garde (Music)786.7/11Ikoniadou Eleni994193MiAaPQMiAaPQMiAaPQBOOK9910465008003321The rhythmic event2276920UNINA