Post-digital aesthetics and the function of process.

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Open Access

Field	Value	Language
dc.contributor.author	Andrews, Ian	en
dc.date.accessioned	2013-11-22
dc.date.available	2013-11-22
dc.date.issued	2013-01-01	en
dc.identifier.citation	Cleland, K., Fisher, L. & Harley, R. (2013) Proceedings of the 19th International Symposium on Electronic Art, ISEA2013, Sydney.	en
dc.identifier.uri	http://hdl.handle.net/2123/9688
dc.description.abstract	The 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
dc.publisher	ISEA International	en
dc.publisher	Australian Network for Art & Technology	en
dc.publisher	University of Sydney	en
dc.subject	Post-Digital	en
dc.subject	Aesthetics	en
dc.subject	Audio, Neo-Modernism	en
dc.subject	Sound-in-Itself	en
dc.subject	Music	en
dc.subject	Non-Intention	en
dc.subject	Glitch	en
dc.title	Post-digital aesthetics and the function of process.	en
dc.type	Conference paper	en
usyd.faculty	University hosted conferences