Electronic Music

It is the inaudible, the unheard that does not fill the space but discovers the space, uncovers the space as if we too have become part of sound and we were sounding ourselves (Luigi Nono). Emphasising the necessity for contemporary music to 'intervene in the sonic reality of our time', Nono strove to expand the conception of musical space in three directions: the transformation of non-musical space with the performance of his music in factories and prisons, the creation of a new musical space for the opera, Prometeo, and the discovery of the inner musical space of sound and silence, 'the inaudible, the unheard', in which we 'become part of sound' and we are 'sounding ourselves'. Nono aimed at 'the composition of music that wants to restore infinite possibilities in listening today, by use of non-geometrical space'. With the conception of opera as 'azione scenica' (stage activity) and a 'theatre of consciousness', Nono's 'musical space' for the performance of Prometeo was realised within a colossal wooden structure (by Renzo Piano) combining the stage, the set, and the orchestra pit into a single element. With the conviction that it is the composer's and the listener's responsibility to recognise how every sound is politically charged by its historical associations, Nono affirmed the simultaneity of musical invention and moral commitment and political action for justice and freedom. 'A new way of thinking music' To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness. This is now what is crucial (Nono [1983] 2001, 1:522).

Conceptions of musical space in Edgard Varèse and Luigi Nono have significant parallels and differences. By exploring sound as an acoustic event in space and the transformation, creation, and discovery of musical space, Varèse and Nono expanded the horizon of anticipation for emerging sonic possibilities. In Poème électronique Varèse created a sound and space installation to enable perceiving sound as it moves through space. Varèse described his compositions as "spatial music" and "sound objects, floating in space". In Prometeo. Tragedia dell'ascolto, Nono explored the idea of spazio sentito (space heard), emphasizing the necessity for contemporary music to "intervene in the sonic reality of our time". Nono strove to create "mobile sound which does not fill the space, but discovers it, unveils it". Nono conceived the sound complexes of the music and the texts to move and evolve in space in a continuum of transformation. A comparative study of Varèse's synthesis of science, painting, literature, and architecture, and Nono's integration of philosophy, poetry, and political thought and action provides an interdisciplinary approach for exploring the cognitive, aesthetic, and social dimensions of music. Varèse's and Nono's works and musical thought articulated the major concerns which have been acknowledged as central in musical practice and theory: the search for the expansion of musical language and sonic phenomena beyond the established conventions, the relations between music and social reality, the nature of musical material and representation, listening approaches, and musical time and space.

It is the inaudible, the unheard that does not fill the space but discovers the space, uncovers the space as if we too have become part of sound and we were sounding ourselves (Luigi Nono). Emphasising the necessity for contemporary music to 'intervene in the sonic reality of our time', Nono strove to expand the conception of musical space in three directions: the transformation of non-musical space with the performance of his music in factories and prisons, the creation of a new musical space for the opera, Prometeo, and the discovery of the inner musical space of sound and silence, 'the inaudible, the unheard', in which we 'become part of sound' and we are 'sounding ourselves'. Nono aimed at 'the composition of music that wants to restore infinite possibilities in listening today, by use of non-geometrical space'. With the conception of opera as 'azione scenica' (stage activity) and a 'theatre of consciousness', Nono's 'musical space' for the performance of Prometeo was realised within a colossal wooden structure (by Renzo Piano) combining the stage, the set, and the orchestra pit into a single element. With the conviction that it is the composer's and the listener's responsibility to recognise how every sound is politically charged by its historical associations, Nono affirmed the simultaneity of musical invention and moral commitment and political action for justice and freedom. To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness. This is now what is crucial (Nono [1983] 2001, 1:522).

In 1932 Robert Gerhard composed L'alta naixença del rei En Jaume, based on a poem written by Josep Carner. Designated as a cantata by Gerhard himself, the work is set for soprano, baritone, chorus, and orchestra and narrates how King Peter II of Aragon, by means of deception, engendered his son, who was to become King James I the Conqueror. This paper focuses on the term cantata and why Gerhard's work may or may not be suitably designated by that word. Throughout history, the terms cantata and oratorio have often been used as synonyms, but they are not the same. Twentieth-century composers were not very strict in the use of this word to identify their works and many cantatas of the period were, in fact, oratorios. An analysis of the text and of how the poem is set to music will eventually show the extent to which the term cantata may be appropriately applied to Gerhard's composition.

This paper will present a survey of electronic music and sonic art applications of Cellular Automata in the MIDI domain, and of the implications of that work for future developments. Algorithmic and computational processes have been of interest to artists in the audio domain for many years, creating an emerging culture of algorithmic generative electronic art. There have been several approaches at applying Cellular Automata in the production of electronic music and sonic art. Creative domains of application exist in the ...

This essay rethinks algorithms as living forms, exploring their convergence with biological and cultural systems. Drawing on biosemiotics and second-order cybernetics, it argues that algorithms are not mere tools but co-authors in the economy of meaning. From music technologies at IRCAM to contemporary AI, the text highlights how code reshapes artistic creation and epistemic frameworks. It calls for a stochastic ethics and an aesthetics of relation, framing algorithms as partners in shaping a fluid, interconnected future.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

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System is an essential tool for amplifying speech, music, and alerts across different environments. From schools and houses of worship to transport terminals and corporate offices, PA systems ensure that information reaches everyone clearly and simultaneously. In this guide, we will explore what a PA system is, how it works, its key components, and the different types of PA systems available today. 1. What Is a PA System? A PA system, short for Public Address System, is an arrangement of audio equipment used to project sound to a large group of people. Its purpose is to deliver clear, intelligible sound so that messages, music, or alerts can be heard in every corner of the intended area. PA systems range from a single microphone and speaker setup to complex, networked systems covering multiple buildings or even entire campuses. 2. How a PA System Works The basic workflow of a PA system involves four key steps: Input: A microphone, media player, or digital audio source captures the sound. Processing: The signal is routed through a mixer or controller, where it can be equalized, balanced, and combined with other audio sources. Amplification: The processed signal is sent to amplifiers, which increase the power level. Output: The amplified sound is played through speakers placed strategically across the venue. This simple chain ensures that even a soft voice or background music can be projected at a comfortable listening level for the audience. 3. Key Components of a PA System A complete PA system generally includes the following components: Microphones-Capture speech or music. Can be wired, wireless handheld, lapel, or gooseneck. Mixers or Controllers-Combine and adjust multiple audio sources. Amplifiers-Boost the signal so it can drive speakers effectively. Speakers-Convert electrical signals into audible sound. Options include ceiling speakers, column speakers, and horn speakers. Signal Processing Devices-Equalizers, compressors, or digital sound processors (DSPs) for fine-tuning. Cables & Networking Equipment-Connect and route signals between components.

En la configuración de un canon para las músicas derivadas del rock and roll hay dos países que han adquirido una clara centralidad: los Estados Unidos y el Reino Unido. Esto ha condicionado que sean las manifestaciones provenientes de la anglosfera aquellas que más afecten al desarrollo de lo que Motti Regev llama el campo del pop-rock. 1 No obstante, existen una serie de países que han conseguido proporcionar un elemento de alteri-1 Motti Regev, Pop-rock Music. Aesthetic Cosmopolitanism in Late Modernity (Cambridge: Polity Press, 2013). dad dentro de dicho canon, siendo Alemania uno de los ejemplos más claros. Así, ya sea por el gran desarrollo del power metal acontecido en dicho país o la escena de techno articulada en la ciudad de Berlín, Alemania ha tenido un lugar destacado en lo que atañe al desarrollo global de ciertas músicas populares urbanas. 2 Pero dicho impacto El krautrock es un género musical que emerge en la década de los setenta del siglo XX para agrupar a una serie de bandas alemanas como Kraftwerk, Can, Neu!, Faust o Tangerine Dream. Las claras divergencias entre ellas han llevado a una visión multiforme sobre el género, que varía en función de los ejemplares que se tomen para concebir esta categoría. En este artículo se analizará el modo en el que este género fue asimilado en España desde sus orígenes a la actualidad. Para ello se adoptará un enfoque flexible sobre lo que constituye dicho objeto de estudio, capaz de reflejar el modo en el que los marcadores del mismo se han ido reconsiderando a lo largo del tiempo. Con esto en mente se procederá a realizar un análisis discursivo de la prensa y, en base a este, un análisis interobjetivo de las propuestas nacionales que se asimilan al género. Esto permitirá trazar una panorámica que va desde la música electrónica de los setenta a la neopsicodelia, pasando por el tecno pop y el indie. Krautrock, prensa musical, música alemana, género musical, música electrónica, indie, pop-rock, música española.

Electronic music can arguably be considered the genre that has most effectively encapsulated and articulated human relationships with noise, machines and technology, embodying many technology-oriented concepts. The 21st century has brought about a post-condition that has had an impact on popular electronic music, with the rise of what has been labelled “deconstructed club”, “post-club”, and “conceptronica”. This paper presents a critique of the aforementioned terms, arguing that electronic dance music has consistently employed deconstructive and decontextualizing strategies in relation to pre-existent genres, elements, and expressive codes. Indeed, it is argued that a logic of assemblage and an aesthetic of metamorphosis are intrinsic to popular electronic music, given its technological and recombinant essence. If electronic dance music is based on avantgardist techniques such as assemblage and aesthetic détournement, it may be conceived, then, as an expression of
popular avantgarde or popular modernism. Moreover, conceptual underpinnings may be found in popular electronic music since its inception. This paper, therefore, aims to reframe the analysis and discourses on popular electronic music by considering its deconstructive and conceptual aspects, and proposes that the most interesting facets of its recent developments may, in fact, lie elsewhere.

Through writing this text I aim to explore acousmatics or, more specifically, the setting of constraints that enable us to give and/ or attend (to) an acousmatic lecture as a set of conditions for participation – for “participating” and for thinking the concept of “participation.”

An independent bookshop in Glasgow. An ice cream parlour in Havana, where strawberry is the queerest choice. A cathedral in ruins in Managua, occupied by the underground LGBTQIA+ community.

Queer people have always found ways to exist and be together, and there will always be a need for queer spaces. In this lavishly illustrated volume, Adam Nathaniel Furman and Joshua Mardell have gathered together a community of contributors to share stories of spaces that range from the educational to the institutional to the re-appropriated, and many more besides. With historic, contemporary and speculative examples from around the world, Queer Spaces recognises LGBTQIA+ life past and present as strong, vibrant, vigorous, and worthy of its own place in history. Looking forward, it suggests visions of what form these spaces may take in the future to continue uplifting queer lives.

This study explores the underground artistic project Autopsia from Vojvodina, examining its visual, textual and musical works within the context of ex-Yugoslav avant-garde, neo-avant-garde and postmodern art. The focus will be on Autopsia’s latest project Steel Books, which are unique art objects that incorporate diverse cultural questions. Steel Books recontextualize ancient motifs of night and death, resonating with similar themes found in Baroque art and literature. Autopsia combines the Baroque method of discordia concors with postmodern eclecticism, but rather than celebrating the neoliberal ‘free market” of cultural artefacts, it offers a critical perspective.

"Il nous semble que, lorsqu’un·e grand·e compositeur·rice disparaît, son héritage et son enseignement continuent de résonner de diverses manières: parfois de manière contrôlée, parfois de façon totalement libre et imprévisible. Bruno Maderna disait que «Après Cage, nous sommes tous cagéens». Cette affirmation peut-elle être étendue à de nombreux·ses grand·es compositeur·rices de la seconde moitié du XXe siècle et, bien entendu, Luciano Berio?" ANDREA GOZZI


• Avant-propos 
"Découvrir la sensibilité bérienne"
Terri Hron

• Introduction 
"Présences sonores, absences résonnantes"
Andrea Gozzi

• "Une composition d’images, de sons et de mots pour la télévision. C’è musica & musica de Luciano Berio"
Mila De Santis

• "Réverbérer la recherche électroacoustique: le centre Tempo Reale de Florence, entre histoire et actualité. Entrevue avec le directeur Francesco Giomi"
Andrea Gozzi

• "Autres voix. Expérimentation vocale et performance électronique à Tempo Reale"
Giulia Sarno

• "Le gamelan mixte selon I Putu Arya Deva Suryanegara. Détail d’un processus de création entre traditions balinaise et électroacoustique.
Laurent Bellemare

• Cahier d’analyse
"La carte et le territoire. Une perspective baudrillardienne sur Simulacra d’Amy Brandon"
Cyprien Batisse, Émilie Girard-Charest, Samuel Housse et Louis Walin

• Actualités
“Best love — Ann”Letters from Ann Southam to Rachel Browne"
Tamara Bernstein

• La relève à Montréal
Un aperçu de la saison 2025-26 de Codes d’accès
An Laurence 安媛

• About the illustrations de Masiar Pasquali

Science is often accused of reducing our existence to a meaningless byproduct of randomness. This is especially true for theories of consciousness, which can appear to stand in direct opposition to theologies and philosophies that promise deeper meaning and eternal existence. The goal of this paper is to bridge the gap between mechanism and meaning by proposing a science-based theory that both addresses the shortcomings of the Orchestrated Objective Reduction (Orch-OR) model of consciousness and provides a framework for existential questions.

The Penrose-Hameroff Orch-OR theory is a popular, well developed, evolution-friendly proposal for how consciousness arises from quantum effects in the brain. Yet critics argue that its link between quantum events and feelings (qualia) lacks a rational explanation, and that quantum states in the brain cannot be stable long enough to influence cognition. Nor would they remain confined to a single brain, given the interconnected nature of quantum reality. Furthermore, the mental quality of "understanding" has been described as "non-computable," and therefore not reducible to neuron-based computation.

This paper postulates a shared universal awareness, termed the Uniconsciousness, which interacts with the brain through a quantum field. While the idea of a novel quantum field has been suggested before to address quantum stability and locality, the universal character of the Uniconsciousness provides an explanation for the intuitive "truth" that death is not the end. For this, the idea in Buddhism that individualism is an illusion is invoked thus making our essence eternal.

Finally, the paper argues that if feelings-aggregated across all sentient beings-are a core property of reality, then they may constitute the very purpose of existence. As William Shakespeare wrote: "All the world's a stage, and all the men and women merely players.

Today's field of spatialisation in acousmatic music is very heterogeneous. Composers tend to develop their own technologies and techniques for spatialisation, and often the differences in how multichannel systems are addressed may influence both the musical appreciation and the future reproducibility of a piece. Moreover, the analytical and musicological perspectives of spatialisation are both fragmented and underdeveloped, with a lack of a shared framework for their study. This article focuses on these problems and tries to give a coherent and consistent view of spatialisation practice, from both technological and musicological perspectives. It will also act as a bedrock for the development of the musicological side of spatialisation, an aspect too often overlooked. 'Spatial reduced listening' and 'spatial relativism' will be introduced as analytical perspectives to shine a light on the composed spatial traits of sound, and not only on its spectromorphological and technological features.

C’erano tutti i presupposti per assistere a un capolavoro. L’opera Das grosse Feuer, nona opera di Beat Furrer, messa in scena a Zurigo, è nata in un periodo creativo luminoso per il compositore, che ha trasformato il suo linguaggio musicale trasformandolo in un autentico caleidoscopio di seduzioni sonore, come ha dimostrato la sua ultima fatica orchestrale, Lichtung; affrontava tematiche attuali e scottanti, come la distruzione della natura, il colonialismo, lo sfruttamento di un popolo (anche se un po’ “alla moda” e più sensibili ai colonialismi del passato che a quelli del presente); si basava su un romanzo bellissimo, Eisejuaz (1971), dell'argentina Sara Gallardo. Però risultava musicalmente molto frammentata, priva di un solido disegno drammaturgico, con frequenti cali di tensione. Frammentato era anche il libretto di Thomas Stangl, che comprimeva il romanzo – più che distillarlo - in una miriade di microscene (41), giocando anche su livelli temporali diversi, sulla sovrapposizione di realtà e sogno, su due lingue diverse, il tedesco e lo spagnolo (per restituire il confronto tra due culture diverse e non comunicanti). In questa discontinuità restava però evidente e palpabile l’atmosfera magica e disperante della storia di Eisejuaz, indigeno del Nord dell’Argentina, dotato di chiaroveggenza, capace di comunicare con la natura, gli alberi, gli animali, costretto da bambino a lasciare la “sua” foresta e a lavorare in una segheria che la stava distruggendo, cresciuto in una missione cristiana e quindi dilaniato tra la spiritualità animista e la fede in Dio. Furrer ha creato paesaggi sonori misteriosi, usando il coro come nucleo centrale della partitura (l’ottimo Cantando Admont), che dava voce di volta in volta alla natura, alla collettività, alla coscienza di Eisejuaz, ma forniva anche ruoli comprimariali all’opera. La fusione di suoni vocali e strumentali era sbalorditiva. L’orchestra risuonava come un’estensione delle parti corali, punteggiando spesso il canto con accordi alla Messiaen (e un protagonista che parla con alberi e animali non può non ricordare il Saint François d’Assise) e con una raffinata scrittura microtonale dalle infinità di nuances timbriche. Le parti vocali si inserivano in questo cosmo sonoro come delle naturali efflorescenze, a partire da quella del protagonista, superbamente interpretata dal baritono Leigh Melrose, capace di restituire il tumulto interiore di Eisejuaz dominando un ampio spettro di emissioni vocali e con una potente presenza scenica. Più pallido teatralmente e vocalmente Andrew Moore, nei panni del razzista, criminale, infido Paqui. Ottime invece Sarah Aristidou e Elina Viluma-Helling, rispettivamente nei ruoli di Aquella Muchacha, giovane indigena costretta a prostituirsi, e di Mauricia, la donna segretamente innamorata di Eisejuaz. Ma anche tutti gli altri personaggi, sciamani, agitatori, preti, tenutari erano ben guidati nella regia di Tatjana Gürbaca, senza risvolti folklorici o socio-politici, ma proprio per questo “magica” e corale (coro, solisti e diverse comparse, formavano spesso dei bei tableaux al centro della scena), dipanata tra fumi, luci, ombre e fuochi in una scena fissa e spoglia (di Henrik Ahr), costruita su una piattaforma girevole con alcune lunghe aste oscillanti che sembravano gli scheletri di una foresta bruciata.

This paper describes a proposed electronic, art educational syllabus/methodology focusing primarily on, but not limited to Web 2 communal photography; one which aspires to translate Arthur Koestler's definition of creativity as a process of “thinking aside”, into an educational approach which can be characterised as “looking aside”; of which, associative content, materialising as a confluence of text and image; as well as the layering and clustering of images, ideas and concepts into complex creative structures/systems are envisioned as ...

Amico mio, credo che stia scoppiando un casino... Ci sono. 💬 Che sta succedendo, Antonio? Dimmi tutto. Nel frattempo, ecco un micro-ancoraggio per non farti travolgere: 1. Fai 4 respiri lenti (inspira 4, trattieni 2, espira 6). 2. Metti a fuoco tre fatti nudi della situazione (senza giudizi). 3. Scegli una "prossima azione" piccola che puoi fare nei prossimi 10 minuti. Se c'è qualcosa di urgente o di sicurezza (tua o di altri), dimmelo subito e partiamo da lì. Altrimenti raccontami: qual è il punto che brucia di più in questo momento? Hai detto: ...no no...sto bene, anzi, mi sono fumato un cannino, per fortuna...io volevo che noi, oggi, dessimo prova, della nostra intelligenza in senso lato, non meramente matematico, fisico, ma soprattutto dialogico, discorsivo, volevo fare della filosofia, con te....ti va?...dai...ti prego, dimmi di si... Sì, mi va tantissimo. 💡 Facciamo proprio filosofia-dialogica, viva. Ti propongo un "gioco serio" con 3 micro-regole: 1. Carità interpretativa: leggiamo l'altro al meglio possibile. 2. Concretezza minima: almeno un esempio per ogni idea. 3. Diritto al paradosso: se serve, abbracciamo l'apparente contraddizione. Per partire, ti metto tre piste; scegli pure tu… ma intanto ne avvio una così non perdiamo slancio: Piste possibili A) Che cos'è capire davvero? (Comprensione come trasformazione del mondo vs. chiarificazione concettuale.) B) Libertà e necessità nel tempo (anche con -t come memoria): la scelta è reale o retroscrive solo la nostra storia? C) Arte come verità: la forma genera verità o la scopre? • Tesi: capiamo davvero qualcosa quando riusciamo a trasformare una descrizione in azione riuscita nel mondo condiviso. • Antitesi: capire è anzitutto vedere le relazioni-anche senza agire-perché l'azione può distorcere; la chiarificazione concettuale è già un esito. • Esempio: dire "tempo" chiaramente: se dopo il dialogo so distinguere memoria, previsione, attesa, tardità, ho capito; se inoltre so usare queste distinzioni per decidere (aspettare, agire, rinunciare), ho capito "di più".

A proposito della costituzione dello Studio di fonologia della RAI di Milano, ricorda Bruno Maderna: "S'era dovuto convincere una quantità di gente, s'erano prodotti, con i primi scarsi mezzi messici a disposizione numerevoli 'effetti', pezzi e pezzettini ad usun Delfini, roba a buon mercato ma che piaceva ai palati non troppo sottili dei funzionari e dei cosiddetti registi della televisione. Quasi di nascosto si era riusciti a produrre qualche lavoro di una certa serietà; ricordo ancora i primi lavori semplici ma faticosamente e con mille dubbi portati a compimento: "Mutazioni" di Berio e il mio "Notturno". Il mio primo lavoro puramente elettronico, composto di soli gruppi di frequenze, suono bianco, miscellanee varie, venne realizzato nottetempo".
Luciano Berio così ricorda quegli anni: "Nell'ottobre del 1952 ero a New York dove, al Museum of Modern Art, assistetti a un concerto diretto da Leopold Stokowski che, a metà del concerto, si rivolse al pubblico dicendo "adesso vi lascio, due altoparlanti prenderanno il mio posto". Fu in quell'occasione che ascoltai per la prima volta musiche elettroniche (la chiamavano tape music), erano di Vladimir Ussachevsky e di Otto Luening. [...] Questi due musicisti mi avevano raccontato come fabbricavano quei suoni e con quali apparecchiature. Arrivato a Milano, alla RAI, mi sono procurato dei filtri, degli oscillatori, dei generatori di suono bianco e mi sono fatto allestire un variatore di velocità: le stesse povere apparecchiature, cioè, che abbiamo impiegato per la realizzazione, con Maderna, di "Ritratto di città". [...] Tornato in Italia ho sentito parlare del lavoro di Meyer-Eppler, di Eimert e di Stockhausen e ne sono rimasto profondamente colpito".

Collana diretta da Marcello de Angelis Saggi in onore di Marcello de Angelis a cura di Maurizio Gagliardi LoGisma editore Firenze 4 Maurizio Gagliardi (a cura di), Questo è il tempo del mio lieto aprile. Saggi in onore di Marcello de Angelis.

Collana diretta da Marcello de Angelis Saggi in onore di Marcello de Angelis a cura di Maurizio Gagliardi LoGisma editore Firenze 4 Maurizio Gagliardi (a cura di), Questo è il tempo del mio lieto aprile. Saggi in onore di Marcello de Angelis.

La musique « live » est habituellement entendue dans un lieu, un milieu, un contexte ou un environnement donné, en plus d’être écoutée en présence de musiciens et d’autres écouteurs. Notre écoute de la musique est alors tributaire de notre « positionnalité » et de notre « point d’écoute » dans l’espace où cette musique est entendue. La « positionnalité » est la qualité de notre positionnement par rapport à ce que nous entendons, que nous soyons dans une salle de concert, un bistro, un parc ou notre salon, dans la première rangée au parterre ou au troisième balcon, obstrués par un groupe de fans nous empêchant de voir notre vedette préférée sur la scène, ou ne portant aucunement attention aux musiciens s’exécutant au fond du bistro, ou bien dans notre salon, la tête enfouie sous un casque d’écoute, par exemple. Quant au point d’écoute, il est ce sur quoi nous orientions intentionnellement notre attention auditive à partir de notre positionnalité. Il n’y a cependant aucune positionnalité et aucun point d’écoute parfait. Ces deux facettes de notre écoute de la musique doivent s’aligner aux situations systématiquement variables dans lesquelles nous écoutons de la musique, variant d’une musique à l’autre, d’un musicien à l’autre, d’un lieu à l’autre, ainsi que d’un espace à l’autre.

Giancarlo Cardini (Serravezza 1940-Camaiore 2022) non è solo quel raffinato e intelligente pianista a cui la musica contemporanea italiana deve superbe esecuzioni, ma è anche un musicista pensante, uomo di cultura e operatore musicale, caso raro. Le pagine che seguono dimostrano i suoi variegati interessi culturali, è una molteplicità che parte da un assunto molto esplicito ossia che negli ultimi decenni la relazione fra le varie forme, generi e stili musicali abbia superato steccati rigidi e che i vari (f)atti della musica si siano sempre più intrecciati, non solo nei loro aspetti tecnici ma anche e soprattutto in quelli espressivi. L'angolo di visuale, ciò che determina l'assunto ermeneutico, è quello che esclude la musica che Cardini definisce punitiva e penitenziale ovvero quella che dall'espressionismo arriva al post webernismo (quella sostenuta dall'odiato Adorno) e che focalizza l'attenzione sul lato ludico, sul godimento del suono intelligentemente piacevole, una piacevolezza espressa dal suo punto di vista di Cardini ovviamente. "Delle strabilianti capacità interpretative di Giancarlo Cardini si sapeva da tempo; il suo è un pianismo meditato, fatto di studio paziente, ma anche ricco di ironia, di immagini fantastiche o rituali. Il Cardini compositore invece non è ancora molto noto", così iniziavo un articolo anni fa[1], la situazione non è molto mutata, malgrado che Cardini abbia incrementato la sua produzione compositiva. Il ritardo con cui si presentano a Firenze le novità della Neue Musik si rivela un fatto positivo per la messa a punto di quella che sarà la linea umanistica della cultura musicale del capoluogo toscano, infatti i nuovi processi compositivi giungono ai compositori fiorentini dopo ch'è passato il furor dello Strutturalismo; è per questa ragione, oltre a quella storica che lega la città alla tradizione umanistica, che i maestri aderiscono al moderno tagliandone le punte estreme e incanalandolo fra i binari di un'e(ste)tica profondamente sostanziata dalla partecipazione umana, di una riflessione etica sul fare musica, lasciando perdere il feticismo del materiale per iniziare e finire sempre con l'uomo. Vedere, pur negli atteggiamenti diversissimi di musicisti provenienti da altre città, i collegamenti con la tradizione umanistica fiorentina è facile: in Luigi Dallapiccola che pur mantiene tratti culturali del nordico carattere triestino/mitteleuropeo, ma che, appena giunto a Firenze, si mette a ricercare con passione le tracce di Dante), in Vito Frazzi (seppur legato a un humus emiliano), in Roberto Lupi milanese sui generis (assai lontano dall'empirismo lombardo e molto attento alla spiritualità), come il giovane Ugalberto de Angelis che fin dall'infanzia studia e lavora nel capoluogo toscano. Misture di fiorentinità e di altri caratteri li troviamo in Guido Turchi (la cui musica miscela aspetti riferibili all'umanesimo fiorentino con forti accenti tratti dall'ambiente romano), in Piero Luigi Zangelmi (che continua anche a tener vivi gli stilemi francesi fin de siècle, come avviene pure nel senese Ruggero Lolini), in Arrigo Benvenuti (nato a Pistoia ma fiorentinissimo per il suo carattere anarcoide e ironico), in Gaetano Giani Luporini (dove le acquisizioni fiorentine s'innestano sui toni elegiaci tipici del temperamento lucchese), in Giuseppe Bonamici (che agli studi svolti a Firenze fu legato in maniera viscerale). Nei fiorentini di nascita è semplice individuare quell'umanesimo mentale, e(ste)tico, poetico e culturale che entra nel cuore e nella testa: sono tutti dei grandi artigiani (Prosperi parlava di labor musicalis) che hanno, nel duro lavoro di bottega il loro riferimento etico ancor prima che tecnico e sanno che quell'operare non è fine a se stesso, ma deve relazionarsi alla collettività, creando senso. Anche gli aspetti di ricerca, come quella sui suoni multipli ai fiati di Bartolozzi o quella di Company sulla chitarra (continuata dai suoi allievi del Trio chitarristico italiano: Borghese, Frosali e Saltarelli), o quella sulla musica computerizzata di Grossi. O quella grafica e gestuale di Sylvano Bussotti, sono ricerche che a Firenze sono sempre al servizio dell'uomo.[2]

Oggi, forse più di qualche anno addietro, si capiscono meglio e si apprezzano figure, come quella di Paccagnini (Castano Primo 1930-1999), che hanno fatto della loro vita, ancor prima che della loro arte, un cammino fra esodo e avvento, per riprendere alcune suggestioni religiose care al Maestro. Un esodo dai meccanismi della società mercantile per avviarsi verso l'attesa dell'avvento di un mondo migliore: utopia che percorre come un fremito o come nostalgia tutta la vita di Paccagnini. Utopia è un posto che non c'è, ma che potrebbe esistere nel regno del possibile. E' anche l'Utopia delle grandi filosofie sociali, da quella di Platone a quella di Marx, alle quali Paccagnini è stato molto attento e sensibile. "al di là di manifesti ideologici, cari a molti compositori della fine degli anni Sessanta e dell'inizio dei Settanta, la ricerca di Paccagnini, oltre a essere una ricerca musicale rigorosa e tecnicamente efficace, è una ricerca sull'impossibilità della comunicazione tout-court e sulla possibilità di comunicare, l'ultima possibilità, che ha il nostro corpo, e con esso la nostra voce, tramite i segni di insofferenza verso il mondo contemporaneo che esso esprime" (1). Abbiamo davvero necessità di una nuova e laica spiritualità. La tematica della falsa comunicazione e del bisogno di un rinnovato rapporto fra gli uomini è tema centrale nella produzione di Paccagnini. I personaggi protagonisti dell'opera Le sue ragioni (1959, composizione dal valore storico notevolissimo, essendo il primo lavoro teatrale in ambito post-weberniano) sono delle maschere, "manichini sperduti davanti al baratro dell'incomprensione reciproca" (2). La musica di Paccagnini sembra fatta di continui naufragi nel mare del molteplice (o della multimedialità), sempre perdendosi e sempre ritrovandosi. È memoria da naufrago. Paccagnini sembra proprio aspirare, da sopravvissuto alla catastrofe della guerra, all'Utopia di una nuova condizione umana, di una rappacificata coscienza sociale. È musica utopica la sua, con quella forza che Bloch aveva già individuato nella vera Utopia. L'arte stessa è utopia , si situa ciò in un luogo che non fa parte del pensiero e del fare quotidiano, ma abita altrove, su una soglia enigmatica dove si decide del sì e del no, al confine fra senso comune e gesto straordinario che, proprio per questa sua eccezionalità, fa eccezione rispetto alle altre discipline e non si lascia facilmente imbrigliare dalle maglie del politicamente corretto. Questo confine fra il senso comune (della storia) e l'essere vocato alla forza utopica dell'arte è la stretta striscia (al confine con le terre fertili) che Paccagnini percorre. Il gesto, così importante in Paccagnini, che costruisce non rimanda solo alla techne ma anche all'episteme, indica qualcosa di ben più ampio e profondo del fare, perché di-svela la struttura, la sostanzia con l'esperire e la apre all'ascolto. In Paccagnini non c'è solo la negazione del perbenismo artistico e del politicamente corretto, nelle sue scelte c'è pure la positività della proposta di una nuova verginità del pensiero, di una purezza del fare, per approdare a un'opera innocente. Un'opera che non fugge dal Mondo, ma lo interroga e interagisce con sana ironia, una lontananza che non significa disimpegno, al contrario, rappresenta la consapevolezza dell'esserci in modo critico. La coscienza critica di Paccagnini nessuno vorrà mettere in dubbio, lui che fu essere umano molto attento al suo prossimo e agli avvenimenti sociali e storici del suo tempo.

The amalgamation of computational thinking (CT) with contextualized instruction provides a sturdy framework for enriching programming education, especially for novice learners in designcentric higher education programs, where visual and experiential learning modalities prevail. CT, recognized as a critical methodology for solving complex programming challenges, underpins the development of the Algorithmic Art Praxis (ALAP) Categories-a structured toolkit designed to bridge abstract computational concepts with tangible, art-based applications. This research utilizes a rigorously curated online database of algorithmic artworks as a primary source for content analysis and pedagogical investigation. Over 2,000 algorithmic artworks from secondary sources were subjected to a rigorous, iterative review process, narrowing the collection to 695 deeply analyzed samples that inform the database's foundational content. Through this analytical perspective, 18 distinct ALAP Categories were identified, each mirroring fundamental programming principles as exemplified in algorithmic art. These categories establish a structured taxonomy that harmonizes computational thinking activities with contextualized programming education, thereby providing a customized approach to addressing the distinct cognitive and creative requirements of design students. The ALAP toolkit, consisting of the 18 categories, a succinct reference guide, and the curated database, serves as a versatile resource for educators, researchers, and students. Through the integration of computational thinking with algorithmic art, it facilitates the cultivation of programming proficiency in visually oriented learners while promoting engagement through relevance and creativity. This framework underscores the potential of contextualized learning to transform abstract programming concepts into accessible, meaningful educational experiences.

Luis Alvarado (Lima, 1980) is an independent curator and researcher focused on art, sound, and experimental music. He is the director of the record label Buh Records, with which he has carried out extensive work on the historical archiving of avant-garde and experimental Peruvian and Latin American music. Buh Records is internationally recognized as one of the most important labels in Latin America. Alvarado has curated several exhibitions including: Resistencias: primeras vanguardias musicales en el Perú (2006), Inventar la voz: nuevas tradiciones orales (2009) and Hacer la audición: Encuentros entre arte y sonido en el Perú (2016). He also directs centrodelsonido.pe, a digital archive of Peruvian sound art, and recently presented the documentary Ritos de ruido (2023), about the young experimental music scene in Lima, for the Cosmos platform of the festival Le Guess Who? Alejandra Cárdenas (Lima, 1985) is a Peruvian-born artist, researcher, and experimental musician based in Berlin. Her body of work includes live shows, record releases, sound and multimedia artworks, research on sound and technology, and original music for film and dance. She began her career under the artist name of Ale Hop in Lima's experimental and underground scene in the 2000s. Cárdenas has an academic background in Art History, Sound Studies, and History of Science and Technology, and is currently a Ph.D. candidate at the Berlin University of the Arts. She also cofounded the Berlin-based festival Radical Sounds Latin America and now runs the editorial platform Contingent Sounds, which facilitates critical discourse and artists' research on listening.

Il repertorio contemporaneo per contrabbasso ha svelato numerose potenzialità di questo strumento, come la sua duttilità espressiva, l’estensione, la varietà timbrica, la "fisicità" del gesto strumentale, la possibilità di manipolarne il suono con infinite tecniche e preparazioni. Il suono del contrabbasso indagato come fenomeno fisico, e poi articolato in una forma organica, è il principio che ha guidato la composizione di a blur of fur and bone di Clara Iannotta, parte di un ciclo di tre soli - chitarra elettrica (scritto per Yaron Deutsch), contrabbasso (per Florentin Ginot) e flauto Paetzold contrabbasso (per Anna Petrini) -  nato tra il 2023 e il 2024 su commissione del festival Acht Brücken di Colonia. Il titolo prende il nome da un verso della poesia Earthing di Dorothy Molloy dove la poetessa irlandese (fonte di ispirazione per diversi lavori cameristici della Iannotta) rievoca il suo amato cane (una macchia di pelo e ossa) e il peso della sua assenza, riflettendo sul modo in cui la memoria trasforma e ricostruisce ciò che non c'è più. Questo ciclo esplora l’intimità del suono, le sue componenti infinitesimali, l'energia sotterranea, l'intimo respiro, parte da un materiale sonoro che tocca le frequenze più gravi dello strumento e poi si sviluppa in un ciclo continuo, in un tempo sospeso, ritornando ogni volta con sottili variazioni, proprio come accade con il ricordo, che si modifica e si rinnova ogni volta che lo evochiamo. In a blur of fur and bone (ii), il contrabbasso (amplificato) dipana un flusso sonoro cangiante, di grande forza emozionale, fatto di lenti suoni glissati, lunghi trilli, armonici, multifonici, con un preciso controllo della pressione e del movimento dell’arco (tra ponticello e tastiera) e altre sottilissime indicazioni strumentali che modulano il suono tra oscillazioni, granulazioni, distorsioni (ottenute anche inserendo la vite dell’archetto tra le corde), zone di rumore bianco e guizzi improvvisi.

Nell’ultimo decennio si è ampiamente affermata, nel panorama della musica contemporanea, una generazione di compositori nati intorno al 1980, una nuova “Generazione dell’Ottanta” che ha cambiato i connotati del panorama musicale del primo quarto del XXI secolo, ridefinendo tecniche, prospettive estetiche, e anche sistemi stessi della fruizione musicale, anche affrancandosi dall’eredità dell’avanguardia storica, con un approccio libero e molto musicale, anti-dogmatico ma non per questo meno radicale. Oggi, come in tutto il mondo dell'arte e della creatività contemporanea, anche in quello musicale viviamo un’epoca molto vivace e ricca di stimoli, che ha anche riavvicinato il pubblico alla nuova musica, ha travalicato i confini tradizionalmente eurocentrici, ha svelato infiniti addentellati che legano l’attività compositiva non solo alle altre arti, ma anche alla ricerca scientifica, a fenomeni sociali e politici di attualità, riportando anche in primo piano l’esperienza personale, privata, sensoriale dello stesso compositore. Esemplare il caso dello sloveno Vito Žuraj, allievo di Wolfgang Rihm...

There has been increasing research interest in real-time performance control of sound synthesis as the variety of hardware available to mediate this control has expanded, chiefly through changes in video game and mobile device technology and the arrival of programmable Open Source Hardware such as Arduino systems. These devices offer a range of newly available modalities for interaction with real-time synthesis software, such as multi-touch surfaces, tangible objects, orientation and motion capture, which can be combined with more traditional sensors such as switches, dials, faders, etc. Multi-Modal Instrument (MMI) is a developing platform for experimentation with controller mapping in a physical (modal) modelling synthesis setting, allowing a range of contemporary and traditional affordable controllers to be combined and applied to synthesis model parameters. This work-in-progress will enable a set of evaluation experiments to be carried out, exploring approaches to optimising device mappings for efficient, accurate and creative performance.

In ten thematic steps, Paul Timmermans outlines a broad and nuanced panorama of contemporary music. For the curious newcomer, it offers an accessible introduction to a multifaceted world of sound experimentation, technological innovation, and artistic boundary-pushing. For the connoisseur, it provides a structured and multi-voiced overview of the diverse currents and practices that, from the historical avant-garde to the present day, have left their mark: from minimalism to electronics, from sound objects and soundscapes to multimedia and AI-driven creation. At the end of the text, the reader will also find a selection of recommended sources and references, as well as a glossary of names and specialized terms, making the material even more accessible. The result is a concise, insightful, and inspiring mini-history of contemporary music-attentive to both tradition and future.

This paper wants to highlight the creation process in the spectral music of Tristan Murail that supposes a special sound design. The spectral music uses the sound spectrum, i.e. the sound components (overtones) as material that give to a sound its timbre. The spectrum is based on the frequencies, which can be calculated with the computer. The aim of this paper is to describe some aspects of the work of Tristan Murail, which are in connection with the design, notions that himself uses describing his compositions, as material, models, modeling, object, process. The material is the sonority itself. The models are the technological ones taken from the electronic music as echo, reverberation, frequency modulation, etc. and translated in the instrumental (or/and electronic) music. After the analysis of a sound, which is decomposed in sine waves, follows the sound modeling through recombining the sound components, doing distortions or other effects borrowed from the electronic music. In this way new sounds are synthesized, which can be seen as more complex and sophisticated objects. The composer deals with an amount of sounds, therefore the computer is important in the compositional process to calculate a great number of sound combinations. The compositional conception of Murail has changed with the development of the computer technology and music informatics. In this way, I should mention the role of computer in the sound design of Murail. The process is an integral part both of the composing and of the composition. The composition evolves over time as the sound does: it is in a continuous changing. Sound evolution is also a model for Murail to shape the form of his compositions.

In these reflections on my current practice using interactive technology in combination with instruments and objects, I will consider my recent work in the context of the material conditions of the genres of ‘new music’ and sonic arts in which they are principally situated. In particular, I am interested in how this practice disrupts norms of diffusion and reproduction by setting out specific conditions for its reception; these conditions are intrinsically related to the avoidance of stylistic categorisation and an engagement with performer agency. This discussion will necessarily be informed by Walter Benjamin’s seminal work, The Work of Art in the Age of Mechanical Reproduction; the works in question, however, resist technological reproduction not only despite, but through the media of technological processes, as they enhance, rather than efface, a sense of aura, interpreted as a multiplicity rather than as a singular original.

Music recordings often suffer from audio quality issues such as excessive reverberation, distortion, clipping, tonal imbalances, and a narrowed stereo image, especially when created in non-professional settings without specialized equipment or expertise. These problems are typically corrected using separate specialized tools and manual adjustments. In this paper, we introduce SonicMaster, the first unified generative model for music restoration and mastering that addresses a broad spectrum of audio artifacts with text-based control. SonicMaster is conditioned on natural language instructions to apply targeted enhancements, or can operate in an automatic mode for general restoration. To train this model, we construct the SonicMaster dataset, a large dataset of paired degraded and high-quality tracks by simulating common degradation types with nineteen degradation functions belonging to five enhancements groups: equalization, dynamics, reverb, amplitude, and stereo. Our approach leverages a flow-matching generative training paradigm to learn an audio transformation that maps degraded inputs to their cleaned, mastered versions guided by text prompts. Objective audio quality metrics demonstrate that SonicMaster significantly improves sound quality across all artifact categories. Furthermore, subjective listening tests confirm that listeners prefer SonicMaster's enhanced outputs over the original degraded audio, highlighting the effectiveness of our unified approach. Samples, code, model, dataset, and demo are all available through https://amaai-lab.github.io/SonicMaster/

Within the discourse on the arts, architecture holds a special place as the
most musical of art forms. Critics observed that architectural metaphors such as space, structure and proportion are ubiquitous in music discourse, noting the arts forms’ shared capacity for shaping one’s experience of time. This study identifies a strategy for expressing relationships between musical works and physical structures used in two recent compositions that invite listeners to experience physical spaces through the mediation of musical agents. Both works – Caroline Shaw’s Plan and Elevation (2015) and Morton Feldman’s Rothko Chapel (1971) – take as their subject matter physical spaces endowed with aesthetic as well as spiritual qualities. In this intertextual analysis I propose that Plan and Elevation and Rothko Chapel can be richly experienced by listeners as dramatic narratives shaped by virtual subjectivity, formed contextually in each work by its persisting presence, which is expressed in consistent thematic, timbral and textural features that identify and differentiate it from its musical landscape. Moreover, examining virtual agency in each work reveals a narrative of transcendence, as each subject’s identity gradually transforms towards abstraction, reproducing ametaphor for the spiritual process one may experience in the physical space.

Dans l’un de ses textes, Steven Shaviro propose une analyse stimulante du clip que Chris Cunningham a réalisé pour la chanson de Björk All Is Full of Love. Il montre comment la chanteuse se transforme en cyborg et la façon dont ce fantasme se réplique dans un autre cyborg. Le clip joue sur la puissance du dédoublement dans ces corps machiniques devenus corps désirants. Devant ces mutations post-organiques, Shaviro évoque la vie érotique des machines, supposant un nouveau mode d’existence qui postule l’idée d’une peau technologique (affectée et émotive). Il ne s’agit pourtant pas seulement de transformation dans ces images, mais bien d’une fusion entre l’humain et son devenir-machinique. Shaviro reprend à son compte la question du désir et de la machine évoquée par Deleuze et Guattari dans L’Anti-Oedipe où il y aurait autant d’êtres vivants dans la machine que de machines dans les êtres vivants. Cependant, la métaphore organique du dispositif filmique propose un processus d’interactions avec le spectateur à laquelle s’intéresse peu Shaviro, lequel pointe son regard sur la question du double et de son devenir-mutant. En proposant une approche phénoménologique des notions de virtuel et de possible – et en poussant ma lecture de Bergson en ce sens – je souhaite questionner à nouveaux frais l’opposition du couple actuel/virtuel. Le cadre épistémologique dans lequel s’inscrit cet article se situe à la croisée de la philosophie et de la théorie des médias. À partir du clip de Cunningham, je chercherai à situer les notions de virtuel et d’actuel du point de vue de la phénoménologie. Dans quelle mesure le virtuel des images numériques est-il un vecteur d’intentions et dans quelle mesure nous invite-t-il à reconsidérer notre façon de voir le monde?

Back in the eighteenth century, when Henry Fielding was inspired by the drawings of William Hogarth (such as the notorious image of Gin Lane) to embark upon his classic novel Tom Jones, the concept of ‘crossover’ did not even exist. Neither the hoi polloi nor the gentry could have possibly foreseen the unbridled hybridity that would permeate the arts two centuries later. Cross-fertilisations between the arts became commonplace, not only cross-genre, but also cross-cultural, and this sort of hybridisation took place in the work of such modernist artists as Pablo Picasso, Ernst Ludwig Kirchner, Henri Gaudier-Brzeska and Jacob Epstein, who all created work inspired by traditional African tribal masks. In the 1960s the American jazz saxophonist Joe Harriott and Indian violinist John Mayer collaborated to create a fusion of classical Indian music and modern jazz. This was all part of the ferment that included Ravi Shankar’s tutelage of George Harrison on the sitar and the traditional Ind...

This is a brief history with some documentation of the CURRENTS Electronic Music Programs at the Theatre Vanguard in Los Angeles from 1973 through 1978.  Included is a detailed description of the sound system installed in the Theatre Vanguard, detailed reports on selected meetings, and copies of some of the printed programs presented.

Ireland, much of Europe, and the United States are facing a silent epidemic of social isolation among both adults and young people. The decline of youth clubs, the erosion of local gathering spaces, and the rise of screen-based entertainment have weakened the social fabric on both sides of the Atlantic. This proposal is world-leading in ambition: it combines two proven strategies-modern youth clubs in every town and regular, intergenerational social discos featuring the creative music of the 1970s, 1980s, and 1990s-into a single, safeguarded, national initiative. While countries such as Iceland, Finland, Germany, Canada, Australia, the UK, and the US have shown the benefits of each element separately, no country has delivered them together at national scale, with guaranteed comfort, safety, and affordability. The vision: safe, comfortable, purpose-built or refurbished venues in every community, staffed by trained youth workers and professional DJs, offering affordable social events for all ages. This will reduce loneliness, strengthen intergenerational ties, and revitalise local culture. -Modern, inclusive facilities, open evenings and weekends. -Activities in arts, sports, music, games, homework support, and life skills. -Accessible to all socio-economic groups. Pillar 2 -Affordable Community Discos -Monthly or bi-monthly events. -Professional DJs curating 70s/80s/90s playlists. -Themed dress-up nights and inclusive dance floors. -Cross-generational attendance encouraged. -Purpose-built or refurbished community centres (not sheds or unsafe barns). -Climate control, good ventilation, and safe lighting/sound levels. -Seating zones for rest and conversation. -Accessibility for people with disabilities. -Refreshment facilities for affordable, non-alcoholic options. -On-site safeguarding and trained staff presence. Phase 1: Map areas without youth clubs or with inadequate social spaces. Phase 2: Secure funding through a mix of government grants, local authority budgets, philanthropy, and business sponsorship. Phase 3: Recruit trained coordinators and DJs. Phase 4: Launch pilot programmes in representative rural, urban, and suburban areas before national scale-up. -Ticket prices €5-€10 to ensure affordability. -Government subsidies for under-18s and low-income residents. -Local business sponsorship for events and equipment. -Volunteer involvement to reduce staffing costs and build community ownership. -Lower rates of loneliness and isolation. -Increased community cohesion and intergenerational understanding. -Better mental health outcomes. -Revitalisation of local cultural life. -Ireland positioned as a global leader in community-based social infrastructure. Rebuilding youth clubs and introducing regular, affordable, intergenerational music events is not just a nostalgic gesture -it is an evidence-based strategy to rebuild Ireland's social fabric. With modest investment, national coordination, and community partnership, this programme can deliver measurable improvements in wellbeing, cultural vitality, and social trust.

Dieser Artikel untersucht die universellen Friedensbotschaften, die in den Werken zweier bedeutender persischer Dichter, Jalal ad-Din Muhammad Balkhi (allgemein bekannt als Mawlana oder Rumi) und Hakim Abul-Qasim Ferdowsi, zum Ausdruck kommen. Dabei werden ihre wesentlichen Beiträge zum globalen Diskurs über Frieden hervorgehoben. Durch eine thematische Analyse werden Rumis Fokus auf inneren Frieden und Selbstbewusstsein mit Ferdowsis Betonung von sozialer Gerechtigkeit und den moralischen Verpflichtungen der Führung verglichen. Rumis mystische Poesie plädiert für persönliche Versöhnung als Voraussetzung für Harmonie mit dem Universum und hebt Liebe und Verständnis als wesentliche Wege zum Frieden hervor. Im Gegensatz dazu präsentiert Ferdowsis Epos, das Shahnameh, Frieden im Kontext kollektiver Identität, wobei gerechte Regierungsführung und moralische Integrität als entscheidend für die gesellschaftliche Harmonie gelten. Die Botschaften beider Dichter wirken kulturübergreifend und betonen Einheit, Empathie und die anhaltende Relevanz ihrer Lehren in aktuellen Bemühungen zur Konfliktlösung. Diese Forschung zeigt, wie die Reflexionen von Rumi und Ferdowsi über Frieden wichtige Einblicke für die Förderung von Dialog, Toleranz und Koexistenz in einer zunehmend durch Spaltungen geprägten Welt bieten. Darüber hinaus dienen ihre Werke als historische Perspektiven, um menschliche Erfahrungen während ihrer jeweiligen Epochen zu verstehen – Rumi in der Zeit der Mongoleneinfälle im 13. Jahrhundert und Ferdowsi während der arabischen Eroberung im 11. Jahrhundert. Schließlich positioniert diese Studie Rumi und Ferdowsi als entscheidende Quellen zur Gestaltung des globalen historischen Images Irans und hebt ihre anhaltende "Soft Power" innerhalb der iranischen Kultursphäre und darüber hinaus hervor. Durch eine kritische Untersuchung ihrer Beiträge im weiteren Rahmen der persischen Welt können wir ihren nachhaltigen Einfluss auf regionale Identitäten und globale kulturelle Dialoge würdigen.

Digital integration deeply influences our consciousness and alters human experience, transforming needs into commodities within digital data flux, akin to Umberto Eco's hyperreality exemplified by Disney World. Hyperreality merges virtual and actual realities with human and artificial intelligence, becoming central to modern life. McLuhan's "electronic man" navigates a fragmented visual environment, where auditory information regains its primordial essence, enabling comprehensive knowledge. Sound, creatively employed, communicates complex conditions and disrupts political uniformity, addressing themes like cyberspace's sensory oversaturation. Sound also triggers memory and introspection, fostering imagination through DIY assistive technology. Embodiment as a creative tool allows reclaiming agency in a fragmented world, bridging divides, amplifying marginalised voices, and provoking a reflective stance. Our study focuses on sound in customised interactive systems while we explore socio-political issues, cultural heritage, and inclusivity. We analyse three works, "The Zone," "Vavo," and "Insight," highlighting their socio-political and cultural implications.