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dc.contributor.authorAndrews, Ianen_AU
dc.date.accessioned2013-11-22T05:45:26Z
dc.date.available2013-11-22T05:45:26Z
dc.date.issued2013en_AU
dc.identifier.citationCleland, K., Fisher, L. & Harley, R. (2013) Proceedings of the 19th International Symposium on Electronic Art, ISEA2013, Sydney.en_AU
dc.identifier.urihttp://hdl.handle.net/2123/9688
dc.description.abstractThe theorisation of post-digital aesthetics in music and sound art seems to be split in two contradictory directions. One direction emphasises the foregrounding of digital processes through the use of process-based procedures, while the other tends toward a neo-modernist, sound-in-itself tendency that would seek to obscure the role of process in the work. This paper argues for a re-evaluation of post-digital music and sound art practices from the perspective of non-subjective modes of composition and making, where aesthetic intentions are suspended.en_AU
dc.publisherISEA Internationalen_AU
dc.publisherAustralian Network for Art & Technologyen_AU
dc.publisherUniversity of Sydneyen_AU
dc.subjectPost-Digitalen_AU
dc.subjectAestheticsen_AU
dc.subjectAudio, Neo-Modernismen_AU
dc.subjectSound-in-Itselfen_AU
dc.subjectMusicen_AU
dc.subjectNon-Intentionen_AU
dc.subjectGlitchen_AU
dc.titlePost-digital aesthetics and the function of process.en_AU
dc.typeConference Paperen_AU


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