A thesis submitted to the Faculty of Humanities, in partial fulfilment of the degree of Master of Arts in Digital Arts,University of the Witwatersrand, 2016 / This dissertation explores different but related philosophies of material agency - the idea that all matter, human or non-human, carries some kind of agency: a capacity to affect and to be affected, the potential sociopolitical implications of such a viewpoint and the potential of sound art to explore these ideas in an experiential way. I discuss and draw connections between three materialist philosophies: the New Materialism of Gilles Deleuze, Felix Guatarri, Brian Massumi and others, the Vibrant Materialism of Jane Bennett and the Sonic Materialism of Christoph Cox, Steve Goodman, Salomé Voegelin and others. These materialist philosophies understand bodies not as static or complete, but in a constant state of flux, never fully formed but continuously form-ing; always in relation to and affected by the ongoing formation of other material bodies. Advocating the decentralisation of human experience, Vibrant Materialism takes into account material processes beyond the intentions or interventions of humans. Sonic Materialism understands sound as an exemplary illustration of affective matter in flux: always present, always moving, always in flux and always affecting and affected by everything it comes into contact with. As a case study, the collected works of a sound artist named Eleh show how these ideas can be implemented in practice. The research finally culminated in an exhibition of installations exploring the potential of sound to move, to act, to change, to affect and to be affected, towards a definition of sound as vibrant matter. / MT2017

Project (M.F.A.) - Simon Fraser University, 2005. / Project (School for the Contemporary Arts) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

In this essay I will describe my working method as an artist with a political perspective, talking about what political art can be and how it can have an effect. I also write about the development of my work, from the interest in the independent nature person to the contrasting role as a citizen. I contextualize my artistic method by raising some questions that I find interesting when dealing with the public in relation to my method; I am recording sound in the city. / Erla Silfá Þorgrímsdóttir

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (57 leaves : col. ill. ; 21 x 30 cm.) in City Campus Collection (T 702.81 WIL)

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

This thesis argues that the Australian Broadcasting Corporation’s sound art program The Listening Room has been , both through broadcasting and related activities, a major factor in the life and growth of sound art in Australia. The thesis also argues that, internationally, The Listening Room is accepted as a leading member of the world sound art community by its contribution to the artistic development and wider recognition of the genre. In order to examine the influence of The Listening Room, interviews and case studies with Australian composers and overseas producers and observers are recounted and analysed. Finally, pertinent data from historical summaries, interviews and case studies are conflated to demonstrate the depth and significance of The Listening Room. / Doctor of Philosophy (PhD)

Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Thesis (M.A. (Hons.))--University of Western Sydney, Nepean, 1995. / Includes bibliographical footnotes. Bibliography: leaves [1-6].

Thesis (M.A.-Res.)--University of Wollongong, 2009. / Typescript. Includes bibliographical references: leaf 107-115.

Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY / Doctor of Philosophy (PhD)