The author offers new approaches to sound material and composition made possible by advances in technology and modern musical theory. He then discusses the use of Semiotic Temporal Units (USTs) as a method of organizing sound material into morphologically based categories in an attempt to reenvisage Western notions of musical composition. Finally, the author presents recent examples that illustrate the need for a rethinking of compositional rules and methodologies.

This essay analyzes the functioning of a text that was designed to be read in a private context, that uses the computer as an active tool during the reading, and that can be published on a permanent medium such as CD-ROM. The work is approached in its dual functioning mode: synchronic and diachronic. A functional model is proposed, which involves an analysis of the functions that operate in the communication process between the reader and the author. In this model, the work appears as a process and no longer as an object.

The visual relationship between buildings and human beings is treated as the interaction between two systems: the reality system, dealing with the physical world in and of itself, and the apprehension system, dealing with the world looked at and represented by viewers. The two systems interact in a unitary physical world and can also be depicted in the visual arts.

The dematerialization of art that began in the 1960s has reached new heights with the use of electronic media. We are at an important crossroads in defining intellectual property rights that will have a direct impact on the way we create and disseminate electronic art in the future. This paper examines the historical evolution of the definition of “author” in copyright law.