Hamline studies in musicology.

Errata slips inserted.

A Musicology for Literary Language

This study analyzed the reader's relationship to the sounds embedded in a written text for the purpose of identifying those sounds' contribution to the reader's interpretation of that text. To achieve this objective, this study negotiated Heideggerian phenomenology, Freudian and Lacanian psychoanalysis, linguistics, and musicology into a reader response theory, which was then applied to Edgar Allen Poe's "The Raven." This study argues that the orchestration of sounds in "The Raven" forces its reader into a regression, which the reader then represses, only to carry the resulting sound-image // away from the poem as a psychic scar.

Abandon sight ye who enter here

A Review of elision's Inferno for Realtime Magazine

Integrating Creative Practice and Research in the Digital Media Arts

Research is often characterised as the search for new ideas and understanding. The language of this view privileges the cognitive and intellectual aspects of discovery. However, in the research process theoretical claims are usually evaluated in practice and, indeed, the observations and experiences of practical circumstances often lead to new research questions. This feedback loop between speculation and experimentation is fundamental to research in many disciplines, and is also appropriate for research in the creative arts. In this chapter we will examine how our creative desire for artistic expressivity results in interplay between actions and ideas that direct the development of techniques and approaches for our audio/visual live-coding activities.

Generative systems as relational bridges

Generative media systems present an opportunity for users to leverage computational systems to make sense of complex media forms through interactive and collaborative experiences. Generative music and art are a relatively new phenomenon that use procedural invention as a creative technique to produce music and visual media. These kinds of systems present a range of affordances that can facilitate new kinds of relationships with music and media performance and production. Early systems have demonstrated the potential to provide access to collaborative ensemble experiences to users with little formal musical or artistic expertise. This paper examines the relational affordances of these systems evidenced by selected field data drawn from the Network Jamming Project. These generative performance systems enable access to unique ensemble with very little musical knowledge or skill and they further offer the possibility of unique interactive relationships with artists and musical knowledge through collaborative performance. In this presentation I will focus on demonstrating how these simulated experiences might lead to understandings that may be of educational and social benefit. Conference participants will be invited to jam in real time using virtual interfaces and to view video artifacts that demonstrate an interactive relationship with artists.