The Structural and Aesthetic Capacity of Sonic Matter: Remarks on Sonic Dramaturgy

This research study focuses on my compositional practice and its related creative strategies. It describes a series of ideas relevant to the structural and aesthetic capacity of sonic matter and the notion of sonic dramaturgy. Its thread of enquiry is based upon transformational logic and the inner nature of sound. The ontology of sound matter, its intrinsic nature and perceptual and cognitive effects, is of primary relevance. This can be contrasted with a permutational approach – the ars combinatoria – that has prevailed in Western Music after the Renaissance. There are four boundaries in which my conceptual compass operates: 1. The intrinsic logic of the sound-material 2. Form as organisation immanent to sonic matter 3. Form as Sonic Dramaturgy 4. The relevance of listeners’ perceptual and cognitive capacities. It is easily understandable that an empirical and experiential attitude manifests itself from the above. My aim is to examine in practice, that encounter and that creative friction which occurs between sound-matter and the human mind, and as a result a priori schemas have been avoided

The structural and aesthetic capacity of sonic matter : remarks on sonic dramaturgy

This research study focuses on my compositional practice and its related creative strategies. It describes a series of ideas relevant to the structural and aesthetic capacity of sonic matter and the notion of sonic dramaturgy. Its thread of enquiry is based upon transformational logic and the inner nature of sound. The ontology of sound matter, its intrinsic nature and perceptual and cognitive effects, is of primary relevance. This can be contrasted with a permutational approach – the ars combinatoria – that has prevailed in Western Music after the Renaissance. There are four boundaries in which my conceptual compass operates: 1. The intrinsic logic of the sound-material 2. Form as organisation immanent to sonic matter 3. Form as Sonic Dramaturgy 4. The relevance of listeners’ perceptual and cognitive capacities. It is easily understandable that an empirical and experiential attitude manifests itself from the above. My aim is to examine in practice, that encounter and that creative friction which occurs between sound-matter and the human mind, and as a result a priori schemas have been avoided.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Shape as an emergent property

Shape is a ubiquitous property of our world. Inferences about it require ‘shape models’: probability distributions on shapes. The crucial property of any such shape model is the existence of long-range dependencies between boundary points. We look at how this property has typically been implemented in machine vision, and at the drawbacks of this ‘classical’ approach. We then discuss an alternative, inspired by classes of shapes arising in certain image processing problems. The resulting description of shape does not involve exogenous templates, but instead describes shape as an emergent property of interactions in a network of simple nodes