- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
This article presents a remarkable form of perception labeled synesthesia. Synesthesia is usually defined as a condition in which stimulation in one sensory modality also gives rise to a perceptual experience in other modalities. This article distinguishes between the involuntary psychological phenomenon and synesthesia in art involving intentional intermedia experimentation. No doubt, technology has made it easier to create multimedia today (e.g., the simple visualization one encounters using a media player), but the central question is not how to implement it but what to implement. This article discusses different approaches to real-time algorithmic synesthesia, in particular sharing features between simultaneously produced sound and image. It begins with the “genuine” synesthetic experience naturally occurring in a minority of individuals. The remainder of its discussion of the psychological phenomenon of synesthetic perception focuses predominantly on auditory-visual interactions.
Noam Sagiv, Brunel University
Roger Dean is Research Professor of Sonic Communication at the University of Western Sydney, and Founder and Artistic Director of austraLYSIS. He is also author of Hyperimprovisation: Computer Interactive Sound Improvisation (2003) and Sounds from the Corner: Australian Contemporary Jazz Since 1973 (2005).
Freya Bailes, University of Western Sydney.
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