Julio d’Escriván
Biographic Data
| ID | 9409369 |
|---|---|
| NAME | Julio d’Escriván |
| GIVEN NAMES | Julio |
| FAMILY NAME | d’Escriván |
| SIGNATURE | D’ESCRIVÁN J |
| AFFILIATIONS | Anglia Ruskin University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2011 |
| H-INDEX | 1 |
Musical Goals, Graphical Lure and Narrative Drive
Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far dev…
To sing the body electric
Visualized emotion can be transmitted through minimal physical gestures in a musical performance; this process can be described as 'sentic', a term originally coined by Manfred Clynes in the 1970s during research into the effects of space travel. The development of alternate musical instruments from the 1960s up to the present day breaks the traditional musical paradigm of effort in performance. This development also shadows concepts of space exp…
Reflections on the poetics of time in electroacoustic music
The perception of music is conditioned by the listener's ability to remember and recognize the material he has been presented with and its transformations. The nature of aural perception is linear in that music unfolds gradually, this unfolding distorts the listener's perception of real time creating moments of stasis and change alternatively. The electroacoustic medium allows the exact reproduction of the sound-event and therefore of its unfoldi…
Reflections on the poetics of time in electroacoustic music
The perception of music is conditioned by the listener's ability to remember and recognize the material he has been presented with and its transformations. The nature of aural perception is linear in that music unfolds gradually, this unfolding distorts the listener's perception of real time creating moments of stasis and change alternatively. The electroacoustic medium allows the exact reproduction of the sound-event and therefore of its unfoldi…
Reflections on the poetics of time in electroacoustic music
The perception of music is conditioned by the listener's ability to remember and recognize the material he has been presented with and its transformations. The nature of aural perception is linear in that music unfolds gradually, this unfolding distorts the listener's perception of real time creating moments of stasis and change alternatively. The electroacoustic medium allows the exact reproduction of the sound-event and therefore of its unfoldi…
To sing the body electric
Visualized emotion can be transmitted through minimal physical gestures in a musical performance; this process can be described as 'sentic', a term originally coined by Manfred Clynes in the 1970s during research into the effects of space travel. The development of alternate musical instruments from the 1960s up to the present day breaks the traditional musical paradigm of effort in performance. This development also shadows concepts of space exp…
Musical Goals, Graphical Lure and Narrative Drive
Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far dev…
Art (3 works) · Computer Science (3 works) · Music Technology and Sound Studies (3 works) · Musical (3 works) · Psychology (3 works) · Visual arts (3 works) · Acoustics (2 works) · Aesthetics (2 works) · Artificial Intelligence (2 works) · Neuroscience and Music Perception (2 works)