EDITORIAL New aesthetics and practice in experimental electronic music Most research and academic writing about electronic distinguishing factor as any description of audio content and electroacoustic music is focused on music produced or audio production method. within academic communities – an inward-looking I was pleased to see that Rolf Grossmann used the dynamic. The theme of Organised Sound 13(1) was phrase ‘the technological transformation of music’ in his established to explore work that exists outside this article for this issue – music has changed. The works that domain, work not supported by the academic economy. are being performed in venues, festivals and galleries What is this work? From 1994, a body of works throughout the world and which are being distributed emerged, Oval’s Systemisch (1994, Thrill Jockey/Mille via new communications technologies are not the same Plateaux), Ikeda’s +/2 (1996, Touch) and Autechre’s as the electroacoustic and electronic works of the latter Grantz Graf (2002, Warp) to identify a few. These twentieth century. And why would they be. Almost heralded new aesthetic approaches to experimental everything touched by the development of technology music, new formations of technologies, and more. has changed in the contemporary world, and the ‘Electronica’, ‘post-digital’, ‘microsound’, ‘glitch’, or fundamental use, creation, aesthetics, reception, con- one of many other descriptions of sub-genres have been sumption and cultural context of music has shifted. In proposed, used, defined and re-defined to quantify the fact, music may now be a problematic term for some field. Yet all these classifications for new approaches to twenty-first-century sound artists. computer music are problematic in some respect; many My attempt to define this field in the call for are misrepresentations or, in fact, meaningless terms, submissions was originally by example – a list of often revealing more about authors’ intentions than indicative artists, performers and composers. In addi- their subject. Not surprisingly, many of the leading tion, I listed suggestions for the focus of articles: figures working outside our academic tradition reject N audio works, albums or sound installations, the notion of single, unified genres, so why should N the work of individual composers and sound academic debate seek to impose this? Why should we artists, find a single term to circumscribe the whole of N audio works with common aesthetic foundations, experimental electronic and computer musics simply N music dissemination and distribution methods, because they don’t follow a lineage from high modern- N aspects of live performance and music presenta- ism or define their raison d’eˆtre from academic tion, discourse? N discussions of contemporary philosophical The research group ‘New Aesthetics in Computer thought relating to music and sound art. Music’ (of which I am Principal Investigator) has recently coined the terms oppositional and independent I am pleased to say that the collection of writings which practice (originally proposed by Mark Fell) to describe resulted from the submission and review process lie the field. This relates to both the independence of sound within these areas. artists and composers who work outside academe, and Rolf Grossmann reviews the current influence of the idea that much work in this field is in opposition to technology on music production, along with recent received musical aesthetics. Such practice is not changes in music performance and consumption primarily influenced by Schaeffer, or spectromorphol- brought about by the adoption of technological means; ogy, or constructs derived from instrumental music or highlighting a shift in music, or perhaps the rupture of structuralist approaches to the manipulation of sound contemporary sound art from many musical traditions. and audio parameters. Oppositional and independent He forecasts even more extreme changes in the future. are also terms which have resonance with artists’ The notion of influence can often be at the fore- approaches to methods of creation and the dissemina- ground of musical discourse. In an intriguing and tion of their work. In fact, the work of many artists in thought-provoking article, Paul Hegarty considers the this field has little in common, except for similarities in possibility that within extreme forms of contemporary their combination of artistic, economic and cultural experimental music, such as noise-based genres, the practice. This combination is as likely to be a notion of influence cannot exist. Organised Sound 13(1): 1–3 ß 2008 Cambridge University Press. Printed in the United Kingdom. doi: 10.1017/S1355771808000010 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.42, on 30 Sep 2021 at 04:47:33, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1355771808000010 2 Editorial Daniella Cascella surveys the work of one of the clearly has a large influence on what appears in print. twenty-first century’s most influential audio artists – Each aspect of this process determines who is able to Carl Micheal von Hausswolff. Her article discusses his publish and what it is possible to publish. Finding ways audio work and other artistic outputs for different to open up this system to facilitate contributions by media (and minds). His work and live performances musical professionals or professional critical commen- illustrate the immense power of pure sound. I’m tators may be a fruitful way for publishers to expand the delighted that it has been possible to include excerpts readership of more specialist journals beyond small of von Hausswolff’s work on the Volume 13 DVD, and academic communities. In scientific disciplines, research would like to thank him for allowing us to reproduce supported by large corporations often fertilises debate sections from some of his audio works. and discussion in journals. Music, and particularly One of the most significant centres of artistic activity experimental forms, can’t sustain corporations, but in contemporary electronic music is Germany’s raster professional research activity does take place and noton label. Adam Collis looks at the work of one of commercial activity does require artistic innovation. their artists Carsten Nicolai, whose visual artwork has Unfortunately, for economic reasons, much of this featured previously in the pages of Organised Sound. innovation is excluded from music journals. Collis’ article focuses on Nicolai’s use of noise derived As a consequence of the negotiation with the systems from a variety of electronic systems. and processes of the journal, the resulting issue is not a The distinction between contemporary experimental ‘curated’ collection of writings, but one that results from musics and popular genres are further illustrated in the an interaction with the journal’s systems. difference between Paul Hegarty’s description of non- I would like to thank all the referees who looked at influence and Thomas Shave’s consideration of hybrid submissions for this issue of Organised Sound for their musical forms. Thomas Shave presents a new approach diligent and careful work, which was often in more to the analysis of popular music, Communicative precise and considered detail than I could have hoped Contract Analysis. This method is based upon the for. This is the unseen work of the journal and its application of semiotic models to extract references in supporters, since the most demanding and difficult hybrid musical forms of popular music. judgements are often related to those articles which Sound installation and practical considerations relat- don’t appear in print. ing to the use of sound materials for public art A number of papers which did not make it into this installations in populated areas are discussed by Sven issue exhibited common performative traits which I Anderson. The adoption of techniques similar to those have seen in a number of recent articles. While many used within what has been termed the ‘microsound’ authors might be inspired to write as simply and clearly genre are described in the context of public art and the as possible, to raise simple points and avoid the sound environments of public spaces. linguistic complications which can emerge from the Outside the theme of this issue, Stephen F. Lilly language games of specialist communities, a significant describes the implementation of a synthesis technique proportion of contemporary academic writing on using functional iteration and illustrates the character- electroacoustic music, much of which is featured in the istics of this method with a series of his own pages of Organised Sound, seems to me to be taking an compositions. opposite tack. Having spent some time away from the day-to-day Often, the impenetrable linguistic constructions processes of editing journals (I stepped down as a co- which describe electroacoustic music appear designed editor of Organised Sound in 2003), I was struck on my to promote a rhetoric or to disguise ill-conceived, return as a guest editor by how journals are able to confused ideas about music with inappropriate manip- represent and explore their themes. The submission ulations of metaphor. Texts about electroacoustic music policies, requirement to produce journals with a generated by other texts about electroacoustic music, ad particular page count in addition to the complexities infinitum. of the call for works process, independent refereeing, I regularly