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DMARC - Digital Media and Arts Research Centre

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DMARC - Digital Media and Arts Research Centre

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Fusing computer science, electronic music and the digital arts, DMARC is situated in the Dept. of Computer Science and Information Systems at the University of Limerick, Ireland. The centre aims to expand and strengthen the encounter between digital technology and creativity through research, teaching and first class facilities.

Originally established in 1998 as the Centre for Computational Musicology and Computer Music, it supported research and teaching in the fields of computer music, music technology, composition, musicology and acoustics. Since 2006 it has extended its activities to include a wide range of digitally enabled arts practice and media technology research. In 2011 the centre was renamed DMARC – The Digital Media and Arts Research Centre.

Find out more at http://www.dmarc.ie/.

Recent Submissions

  • Hagan, Kerry L (Electroacoustic Music Studies Network, 2014)
    This paper is predicated on the argument that real-time computer-generated music exists on a spectrum of liveness . First, a brief discussion of liveness situates the question of liveness in real-time computer music. Then, ...
  • Hagan, Kerry L (2008)
    An approach to the creation of musical material, coined here as “textural composition,” addresses aesthetic consequences of real-time stochastic sound mass composition. Musical texture as source material exists between ...
  • Hagan, Kerry L (2013)
    Morphons and Bions is a real-time, computer-generated work that uses white noise as the fundamental synthesis component combined with classical synthesis techniques. Random and stochastic processes control the synthesis ...
  • Hagan, Kerry L (2008)
    The aesthetic implications of real-time stochastic sound mass composition call for a new approach to musical material and spatialization. One possibility is found in the fertile ground of musical texture. Texture exists ...
  • Hagan, Kerry L (2012)
    This paper is predicated on the argument that searching for the meaningful in electroacousticmusic is to use different means for different pieces, while remaining situated within the historical context of electroacoustic ...
  • Hagan, Kerry L (2012)
    The new work, Morphons and Bions (2011), is a realtime computer music work generated in Pd. All sounds in the work are synthesized as opposed to recorded. The sound sources rely fundamentally on white noise and digital ...
  • Torre, Giuseppe (University of Limerick, 2013)
    A live performance using novel technologies is a highly complex system in which anthropological, sociological, psychological, musicological and technical issues are heavily involved. The New Interfaces for Musical ...
  • Galvin, John (University of Limerick, 2013)
    This PhD by practice presents a theoretical and methodological exploration of what Lev Manovich has termed spatial montage. In essence spatial montage may be understood in opposition to traditional, temporal montage (the ...
  • Greenwood, John Samuel (University of Limerick, 2011)
    This thesis describes a compositional process that is homogeneous to LaMothe’s four modes of organising experience: corporeal-contiguous, taxonomic-object, symbolic-subjective and narrativecommunal. It begins with the ...
  • McCourt, Stephen John (University of Limerick, 2011)
    This thesis and the accompanying body of work explore the relevance of sonic images to the composition and analysis of electroacoustic music. While the importance of intrinsic sonic properties is not overlooked, an ...

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