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The Sonic Architecture of Interdictor: Matter, Structure, and Code
The Sonic Architecture of Interdictor: Matter, Structure, and Code
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202105637
- ISBN
- 9798270222734
- DDC
- 781
- 서명/저자
- The Sonic Architecture of Interdictor: Matter, Structure, and Code
- 발행사항
- [Sl] : Columbia University, 2026
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2026
- 형태사항
- 106 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-06, Section: A.
- 주기사항
- Advisor: Cluett, Seth.
- 학위논문주기
- Thesis (D.M.A.)--Columbia University, 2026.
- 초록/해제
- 요약This dissertation examines composer Marek Poliks's Interdictor-a sound installation of 558 computer fans on an aluminum hull-as a "reconversion piece" that leverages institutional resources to stage a strategic exit from the neoliberalized New Music field. Through a tripartite analysis, it first maps the field's hollowed-out conditions, then performs a technical autopsy showing how the work's C++ code materializes a logic of algorithmic precarity. Finally, a reception study reveals how critiques of the work's "emptiness" inadvertently validate its core function: to devalue the field's capital through a performed departure.This framework is tested and expanded through the creative component, Drinking Brecht, a collaborative work of experimental theatre created under the banner of Sister Sylvester (Kathryn Hamilton). Where Poliks's model is one of alienating exit, this project explores collectivist, embodied participation. While the piece centered Hamilton's voice as the primary storyteller, our collaborative process-engaging my own compositional practice and the artistic contributions of Jessie Cox, Ellery Trafford, and Hamilton's too-became a site to consciously negotiate authorship across differences of gender, race, and artistic discipline. The piece thus functions as an open laboratory, representing a different form of Bourdieusian struggle that challenges monolithic authorship through a shared, yet critically examined, creative practice. Together, these case studies chart the complex and often contradictory strategies artists deploy within a reconfigured cultural economy.
- 일반주제명
- Musical composition
- 일반주제명
- Computer science
- 일반주제명
- Cultural anthropology
- 키워드
- C++
- 키워드
- Sound arts
- 기타저자
- Columbia University Music
- 기본자료저록
- Dissertations Abstracts International. 87-06A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■00520260202105637
■006m o d
■007cr#unu||||||||
■020 ▼a9798270222734
■035 ▼a(MiAaPQ)AAI32395268
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a781
■1001 ▼aRodriguez Aguilar, Diana Marcela.
■24510▼aThe Sonic Architecture of Interdictor: Matter, Structure, and Code
■260 ▼a[Sl]▼bColumbia University▼c2026
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2026
■300 ▼a106 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-06, Section: A.
■500 ▼aAdvisor: Cluett, Seth.
■5021 ▼aThesis (D.M.A.)--Columbia University, 2026.
■520 ▼aThis dissertation examines composer Marek Poliks's Interdictor-a sound installation of 558 computer fans on an aluminum hull-as a "reconversion piece" that leverages institutional resources to stage a strategic exit from the neoliberalized New Music field. Through a tripartite analysis, it first maps the field's hollowed-out conditions, then performs a technical autopsy showing how the work's C++ code materializes a logic of algorithmic precarity. Finally, a reception study reveals how critiques of the work's "emptiness" inadvertently validate its core function: to devalue the field's capital through a performed departure.This framework is tested and expanded through the creative component, Drinking Brecht, a collaborative work of experimental theatre created under the banner of Sister Sylvester (Kathryn Hamilton). Where Poliks's model is one of alienating exit, this project explores collectivist, embodied participation. While the piece centered Hamilton's voice as the primary storyteller, our collaborative process-engaging my own compositional practice and the artistic contributions of Jessie Cox, Ellery Trafford, and Hamilton's too-became a site to consciously negotiate authorship across differences of gender, race, and artistic discipline. The piece thus functions as an open laboratory, representing a different form of Bourdieusian struggle that challenges monolithic authorship through a shared, yet critically examined, creative practice. Together, these case studies chart the complex and often contradictory strategies artists deploy within a reconfigured cultural economy.
■590 ▼aSchool code: 0054.
■650 4▼aMusical composition
■650 4▼aComputer science
■650 4▼aCultural anthropology
■653 ▼aC++
■653 ▼aSound arts
■690 ▼a0214
■690 ▼a0984
■690 ▼a0326
■71020▼aColumbia University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g87-06A.
■790 ▼a0054
■791 ▼aD.M.A.
■792 ▼a2026
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17360915▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
