Leonardo Music Journal

LMJ29 - Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects

Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects.

LMJ29 - Sound Appropriation and Musical Borrowing as a Compositional Tool in New Electroacoustic Music

This text presents a compact historical survey of musical borrowing and sound appropriation from medieval chant through the latest digital experiments outside popular music involving extensive use of sampling. It then describes two artistic research projects consisting of a series of pieces that digitally reimagine selected works from the classical music repertoire, including thoughts about the contemporary relevance of giving new life to classical music through the perspective of new media.

LMJ29 - Enacting Sonic-Cyborg Performance through the Hybrid Body in Teka-Mori and Why Should Our Bodies End at the Skin?

In “A Cyborg Manifesto,” Donna Haraway explores implications of the increasing hybridization of humans and machines. While society has long been concerned with the encroachment of technology onto human activity, Haraway challenges this concern, suggesting instead a kinship between organism and machine, a hybrid body. A sonic-cyborg performance realizes this understanding of the human-machine hybrid through movement and sound, incorporating a “kinesonic” approach to composition and an exploration of “mechatronic” expression.

LMJ29 - Flow Vertical: Composing and Improvising Original Music Inspired by Bodily Sound Vibrations

This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and representation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece.