A PhD thesis

I finished my PhD thesis recently, which focuses on the digital audio workstation (DAW). You can read it here. A lower-resolution version is here. You can buy Thru, the music made during the project, here.

Abstract

This thesis explores the material conditions and practices of the digital audio workstation (DAW), treating…


The history of word processing repeats itself in the digital audio workstation

One of the defining properties of contemporary music-making is the possibility for it all to be done “in” the computer, or more specifically, in the digital audio workstation. “In the box” music-making implies that no additional hardware is…


Visual art has always worn its medium on its sleeve, or at least, its wall label. Digital audio, for all its possible forms and processes, doesn’t get the same self-imposed scrutiny. How can it? Sound without sight is a recipe for misapprehension and under-determination. It isn’t until you see the…


This talk was pre-recorded for a symposium on creativity on September 1 2016, for undergraduates at the Western Australian Academy of Performing Arts.

I’ll be talking today about technology and creativity, and using the critique of technology to start new compositional processes.

It’s fairly common for people to take the…


Performed by Decibel New Music Ensemble @ Western Australian Academy of Performing Arts, 2016–03–23

The question of the “nature” of sound is a French question. Since Pierre Schaeffer first posited his ruminations on musique concrète, l’objet sonore and écoute réduite after World War II, France has been the home of the most articulate attempts to answer that question, and music composed under the doctrine…


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The word “vibe” accounts for much more than a decorous English language would like it to. The Australian predilection for the term, as canonised through The Castle and its fighting of court cases based on the “vibe” of the constitution, has a wonderful casualness, that signifies an implicit reception, rather…


At a recent meeting with my supervisor, she made the point that it’s easy to forget that all of our representations of sound — for example, the image of the sine wave, the oscilloscope, the spectrograph, music notation — are exactly that: representations, enormously abstracted from the real-world nature of…


This is my second of four posts documenting my residency at the Bogong Centre for Sound Culture. The first post is here.

My time at Bogong unfortunately coincides with Perth’s Totally Huge New Music Festival, a biennial festival that brings several of the most interesting music and sound art practitioners…


The following four posts come to you as an outcome of my residency at the Bogong Centre for Sound Culture, in the Victorian Alps 350km northeast of Melbourne. Part 2; Part 3; Part 4.

It seems a little facetious for me to come to Bogong Centre for Sound Culture —…

Michael Terren

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