[obsidian] vault backup: 2025-01-21 19:59:50[

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content/Computer music and post-acousmatic practices - International Computer Music Conference 2022.md

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+---
+cssclasses:
+  - research-note
+type: conferencePaper
+author: Holbrook, Ulf; Rudi, Joran
+editor: Torre, Giuseppe
+title: "Computer music and post-acousmatic practices: International Computer Music Conference 2022"
+date: 2022-07-03
+citekey: holbrook2022
+tags:
+  - research
+  - conferencePaper
+  - "#computermusic"
+---
+
+> [!Cite]
+> Holbrook, Ulf, とJoran Rudi. 2022. 「Computer music and post-acousmatic practices: International Computer Music Conference 2022」. _Proceedings of the International Computer Music Conference, ICMC 2022_, 編集者： Giuseppe Torre, 140–44. International Computer Music Conference, ICMC Proceedings. San Francisco: International Computer Music Association. [https://icmc2022.files.wordpress.com/2022/09/icmc2022-proceedings.pdf](https://icmc2022.files.wordpress.com/2022/09/icmc2022-proceedings.pdf).
+
+>[!Synth]
+>**Contribution**:: 
+>
+>**Related**:: 
+>
+
+[online](http://zotero.org/users/12014264/items/2QDBGAH5) [local](zotero://select/library/items/2QDBGAH5) [pdf](file:///Users/tomoya/Zotero/storage/NBRFF5ND/Holbrook%20et%20al.%20-%20Computer%20music%20and%20post-acousmatic%20practices.pdf)
+ 
+
+ 
+>[!md]
+> **FirstAuthor**:: Holbrook, Ulf  
+> **Author**:: Rudi, Joran  
+~> **FirstEditor**:: Torre, Giuseppe  
+~    
+> **Title**:: Computer music and post-acousmatic practices: International Computer Music Conference 2022  
+> **Year**:: 2022   
+> **Citekey**:: holbrook2022  
+> **itemType**:: conferencePaper  
+> **Publisher**:: International Computer Music Association   
+> **Pages**:: 140-144    
+
+> [!LINK] 
+>
+>  [Holbrook et al. - Computer music and post-acousmatic practices.pdf](file:///Users/tomoya/Zotero/storage/NBRFF5ND/Holbrook%20et%20al.%20-%20Computer%20music%20and%20post-acousmatic%20practices.pdf).
+
+> [!Abstract]
+>
+> This short paper considers the practices of computer music through a perspective of the post-acousmatic. As the majority of music is now made using computers, the question emerges: How relevant are the topics, methods, andconventions from the “historical” genre of computer music? Originally an academic genre confined to large mainframes, computer music’s tools and conventions have proliferated and spread to all areas of music-making. As agenre steeped in technological traditions, computer music is often primarily concerned with the technologies of its own making, and in this sense isolated from the social conditions of musical practice. The post-acousmatic is offeredas a methodological perspective to understand technology based music, its histories, and entanglements.
+>.
+> 
+# Notes
+
+[[ポストアクースマティック]]とコンピューター音楽という言葉の結びつきについて検討する論文
+
+> From its inception and up until today, computer music composers have sought and gained new tools, and have shifted their methods towards uses of high-level software on computers and portable tablets. Most newer tools abstract the signal processing routines and variables, making them easier to use while removing the need for understanding the underlying processes in order to create meaningful results.
+
+これも結構欺瞞では？
+
+
+
+# Annotations%% begin annotations %%
+
+
+%% end annotations %%
+
+
+%% Import Date: 2025-01-21T19:08:40.356+09:00 %%

content/private

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content/ポストアクースマティック.md

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+---
+date: 2025-01-21 19:09
+---
+#notion 
+
+[[アクースマティック]]な音楽と比して、コンピューターやデジタル技術が一般的になって以降の音楽について包摂的な定義を与えるための言葉・・・という理解
+
+[[Post-Acousmatic Practice - Re-evaluating Schaeffer’s heritage]]
+