Interactivity and Game Creation. 9th EAI International Conference, ArtsIT 2020, Aalborg, Denmark, December 10–11, 2020, Proceedings

Research Article

Acetate - Impermanence and Destruction Within Sound Art

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  • @INPROCEEDINGS{10.1007/978-3-030-73426-8_5,
        author={Jimmy Eadie},
        title={Acetate - Impermanence and Destruction Within Sound Art},
        proceedings={Interactivity and Game Creation. 9th EAI International Conference, ArtsIT 2020, Aalborg, Denmark, December 10--11, 2020, Proceedings},
        proceedings_a={ARTSIT},
        year={2021},
        month={7},
        keywords={Turntable art Plunderphonics Acetate},
        doi={10.1007/978-3-030-73426-8_5}
    }
    
  • Jimmy Eadie
    Year: 2021
    Acetate - Impermanence and Destruction Within Sound Art
    ARTSIT
    Springer
    DOI: 10.1007/978-3-030-73426-8_5
Jimmy Eadie1
  • 1: Trinity College Dublin

Abstract

This paper will discuss two installation pieces created for acetate vinyl and multiple turntables. The two works and should be considered as spatially immersive, generative, and interactive sound sculptured objects that investigate degrading surface material and remediation as the basis for a structural composition. The turntable has been regarded as a legacy technology but has recently seen a resurgence even among emerging technologies such as ‘XR’ ‘Network Art’ and ‘Live Coding’. This paper will discuss how the turntable is itself a dialogic key between mediation and materiality of sound. It’s tactile and kinaesthetic nature invite interactivity in a very unique and singular manner. Firstly, I will address correlational aspects by developing the conceptual and aesthetic context in an effort to delineate and explain the term before addressing the affordances of the creative use of the turntable. I will then explore how prominent artists conflated this medium’s initial purpose and telos before going on to discuss the concept of . This will be followed by an in-depth commentary of the use of acetate material in terms of investigating real-time recursive disintegration of analogue sound recording on this soft and malleable material. Intermediality and reappropriation of sonic material will also be discussed in relation to the compositional approach with a particular emphasis on