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All Outputs (25)

Need we say more: Contemporary Responses to the Fairlight CMI (2020)
Presentation / Conference
Blackburn, M., Harkins, P., Puricelli, R., & Lacedelli, S. (2020, December). Need we say more: Contemporary Responses to the Fairlight CMI. Paper presented at Sound Instruments and Sonic Cultures: An Interdisciplinary Conference, National Science & Media Museum, Bradford/Online

Often described as the first digital sampler, the Fairlight Computer Musical Instrument (CMI) was primarily a digital synthesizer and computer workstation. Launched in 1979, it was one of the technologies that were used to re-shape the practices of m... Read More about Need we say more: Contemporary Responses to the Fairlight CMI.

Working with brevity: Short soundfiles in electroacoustic composition (2019)
Presentation / Conference
(2019, June). Working with brevity: Short soundfiles in electroacoustic composition. Presented at International Computer Music Conference, New York

Working with short soundfiles en masse in the fields of fixed media (acousmatic) and mixed music (instruments and electronics) has raised questions regarding useful assemblage and handling techniques. This paper traces out some different processes an... Read More about Working with brevity: Short soundfiles in electroacoustic composition.

Other people’s sounds (2017)
Presentation / Conference
Blackburn, M. (2017, September). Other people’s sounds

Other people’s sounds: examples and implications of borrowed audio (2017)
Presentation / Conference
(2017, September). Other people’s sounds: examples and implications of borrowed audio. Presented at Electroacoustic Music Studies Network Conference, Nagoya, Japan

The starting point for much electroacoustic music is the capture of audio from the sounding world around us. Recorded sound (field and studio recordings) provides the composer with pliable audio data, inspiration and impetus for the creation of new w... Read More about Other people’s sounds: examples and implications of borrowed audio.

Autonomous Sensory Meridian Response as platform for creative work in digital fixed media (2017)
Presentation / Conference
(2017, July). Autonomous Sensory Meridian Response as platform for creative work in digital fixed media. Presented at Electronic Visualisation and the Art Conference, London, UK

ASMR (Autonomous Sensory Meridian Response) is the name given to a pleasant sensation that can be felt most commonly on the scalp and can be triggered by various gentle sounds (like whispers, crinkles or tapping), smooth and repetitive visual stimuli... Read More about Autonomous Sensory Meridian Response as platform for creative work in digital fixed media.

From ‘concert’ to ‘screening’: visual anecdotes in Electroacoustic Music presentations. (2014)
Presentation / Conference
(2014, June). From ‘concert’ to ‘screening’: visual anecdotes in Electroacoustic Music presentations. Presented at Electroacoustic Music Studies Network Conference, Berlin, Germany

In line with the spectro-morphological tradition of much of the electroacoustic repertoire, video works produced by artists of electroacoustic provenance are predominantly abstract, especially in terms of the featured imagery. Nonetheless, despite th... Read More about From ‘concert’ to ‘screening’: visual anecdotes in Electroacoustic Music presentations..

Illustration and the compositional process: an update on pedagogical and creative uses (2013)
Presentation / Conference
Blackburn, M. (2013, January). Illustration and the compositional process: an update on pedagogical and creative uses. Paper presented at From Tape to Typedef: Compositional Methods in Electroacoustic Music, From Tape to Typedef: Compositional Methods in Electroacoustic Music Conference Programme University of Sheffield

Improvisation, Dynamic Form and the Acousmatic Music Composer: Perspectives on Triple Retort (2012)
Presentation / Conference
Blackburn, M. (2012, December). Improvisation, Dynamic Form and the Acousmatic Music Composer: Perspectives on Triple Retort. Paper presented at INTER/actions Symposium, 2012, University of Bangor, Wales

This paper introduces the semi-improvised mixed work Triple Retort (2011) for flute, cello, mezzo-soprano and three laptops, and presents the concept of constructing dynamic form as a means of enabling and encouraging variation with each performa... Read More about Improvisation, Dynamic Form and the Acousmatic Music Composer: Perspectives on Triple Retort.