Abstract

Acousmatic sound art production has as its goal a transformation of recognizable recorded sound samples into new relations, effectively hiding the origin of the raw material so as to focus on an experience of pure sound. The author defines the "live" as the "life" from which these samples are pulled, and considers the ways in which the biography of the sample troubles acousmatic art.

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Additional Information

ISSN
1531-4812
Print ISSN
0961-1215
Pages
pp. 71-75
Launched on MUSE
2008-12-04
Open Access
N
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