{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2023,5,16]],"date-time":"2023-05-16T08:52:22Z","timestamp":1684227142426},"reference-count":30,"publisher":"MIT Press - Journals","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Computer Music Journal"],"published-print":{"date-parts":[[2015,3]]},"abstract":"<jats:p> This article describes a set of \u201ctextual\u201d technological practices that have been emerging over the past decade in the work of underground electroacoustic and computer music composers, focusing particularly on Florian Hecker and Russell Haswell. Guided by methodological insights from the field of software studies, the article zooms in on two computer programs, PulsarGenerator and GENDYN, presenting a genealogical analysis of them as cultural objects and outlining how these lines of descent are aestheticized in their works. In the hands of these artists, sound synthesis procedures carry an author function, and this transgresses both their legal status as technological \u201cinventions\u201d rather than texts, as well as their ontological status in the electroacoustic music genre. Combined with a compositional focus on \u201csounding\u201d the materiality of these technologies\u2014the particular affordances, limitations, and quirks of their operative functioning\u2014this textual practice contributes to a new aesthetic, one that challenges the prevailing logic of secrecy, alchemy, and semblance in this music. Using the notion of \u201contological politics\u201d inherited from science and technology studies, I show how these practices highlight zones of contestation over electroacoustic music\u2019s ontology. <\/jats:p>","DOI":"10.1162\/comj_a_00284","type":"journal-article","created":{"date-parts":[[2015,3,24]],"date-time":"2015-03-24T17:07:22Z","timestamp":1427216842000},"page":"41-58","source":"Crossref","is-referenced-by-count":8,"title":["Sound Synthesis Procedures as Texts: An Ontological Politics in Electroacoustic and Computer Music"],"prefix":"10.1162","volume":"39","author":[{"given":"Christopher","family":"Haworth","sequence":"first","affiliation":[{"name":"Faculty of Music Oxford University St. Aldate\u2019s Oxford, OX1 1DB, UK"}],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"281","reference":[{"issue":"3","key":"p_2","first-page":"619","volume":"27","author":"Bergman B.","year":"2005","journal-title":"Hastings Communications and Entertainment Law Journal"},{"key":"p_4","doi-asserted-by":"publisher","DOI":"10.1162\/lmj.2005.15.1.62"},{"key":"p_8","doi-asserted-by":"publisher","DOI":"10.1162\/014892600559489"},{"key":"p_13","doi-asserted-by":"publisher","DOI":"10.1080\/09298219508570671"},{"key":"p_14","doi-asserted-by":"publisher","DOI":"10.1080\/09298219508570691"},{"key":"p_15","doi-asserted-by":"publisher","DOI":"10.1017\/S1355771898009029"},{"key":"p_16","doi-asserted-by":"publisher","DOI":"10.1162\/014892602753633524"},{"key":"p_17","doi-asserted-by":"publisher","DOI":"10.1162\/COMJ_a_00067"},{"key":"p_18","first-page":"1","volume":"1","author":"Eimert H.","year":"1957","journal-title":"Die Reihe"},{"key":"p_20","doi-asserted-by":"publisher","DOI":"10.2307\/852808"},{"key":"p_23","doi-asserted-by":"publisher","DOI":"10.1162\/014892602753633533"},{"key":"p_33","doi-asserted-by":"publisher","DOI":"10.1162\/014892600559290"},{"key":"p_38","doi-asserted-by":"publisher","DOI":"10.1017\/S135577180700163X"},{"key":"p_39","first-page":"117","author":"Keller D.","year":"1998","journal-title":"Proceedings of the International Computer Music Conference"},{"key":"p_41","doi-asserted-by":"publisher","DOI":"10.1162\/lmj.2009.19.77"},{"key":"p_42","doi-asserted-by":"publisher","DOI":"10.1017\/S1355771806000112"},{"key":"p_43","doi-asserted-by":"publisher","DOI":"10.1017\/S1355771808000253"},{"key":"p_45","first-page":"74","author":"Mol A.","year":"1999","journal-title":"J. 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