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J. Ashmore, P. Avan, W. Brownell, P. Dallos, K. Dierkes, R. Fettiplace, K. Grosh, C. Hackney, A. Hudspeth, F. Jülicher, B. Lindner, P. Martin, J. Meaud, C. Petit, J. Santos-Sacchi, J. Sacchi, B. Canlon (2010)
The remarkable cochlear amplifierHearing Research, 266
D. Kemp (2004)
Evidence of mechanical nonlinearity and frequency selective wave amplification in the cochleaArchives of oto-rhino-laryngology, 224
Christopher Haworth (2011)
Composing with Absent Sound, 2011
I. Xenakis (1996)
Determinacy and indeterminacyOrganised Sound, 1
N. Collins, Bob Sturm (2011)
Proceedings of the International Computer Music Conference
The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an “ear-as-instrument” approach to the composition of Correlation Number One (CNO) , an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis.
Leonardo Music Journal – MIT Press
Published: Dec 1, 2012
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