Computer games and virtual worlds are "traditionally" visually orientated, and their audio dimension often secondary. In this paper we will describe New Atlantis a virtual world that aims to put sound first. We will describe the motivation, the history and the development of this Franco-American project and the serendipitous use made of the distance between partner structures. We explain the overall architecture of the world and discuss the reasons for certain key structural choices. New Atlantis' first aim is to provide a platform for audio-graphic design and practice, for students as well as artists and researchers, engaged in higher education art or media curricula. We describe the integration of student's productions through workshops and exchanges and discuss and the first public presentations of NA that took place from January 2016. Finally we will unfold perspectives for future research and the further uses of New Atlantis.
Numbers have been identified with symbolic data forever. The profound association of both with acoustics, music, and sonic art from Pythagoras to current work is beyond reproach. Recently, sonification looks for ways to realize symbolic data (representing results or measurements) as well as ''raw'' data (signals, impulses, images, etc.) into compositions. In the strictest sense, everything in a computer is symbolic, that is, represented by 0s and 1s. In the arts, the digital age has broadened and enhanced the conceptual landscape not simply through its servitude to the creative process, but as its partner. However, there is a rich history of the use of data that no doubt has paved the way for many of today's experiments including my own.
Gena describes Winsor’s musical and educational philosophy from his work with Winsor in Chicago in the late 1970s, placing Winsor’s background in the San Francisco Tape Music Center (to 1965) as an important formative experience. Childs and Winsor discuss Winsor’s experiences in San Francisco and Tanglewood; open style, and New Romanticism. They talk of Winsor’s experiences in Rome and Milan, Darmstadt and a new regard for American music. Compositional issues include quotation versus collage; Melted Ears; McLuhan and the electronic revolution; indeterminacy and performer choice; synthesizers and electronic music studios; linguistic analogies and “non-linguistic composition.” They discuss Cage, education and its relevance, comprehensibility of musical process, competition and differences between eastern, midwestern, and western composers. They end with masterworks, critics (which Winsor calls “crickets”), bad performances, musical expression and meaning, film and multimedia.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.