Online Journal Title: ElectroAcoustics Magazine

Print Series Destination: Arts & Technologies (Annual Print Selection)

Classification / Category: 2026 Official Series · Epistemological Manifesto / Foundational Document

Article Identifier: Art. 2026.01.en

Publishing Model: Continuous Digital Publication · Peer-Review Selected for Print

Issue #01 «Electroacustic Imperative»

Indexing & Registrations

ISSN (Online): Application in Progress

ISBN (Print): Reserved for Arts & Technologies 2027

DOI: Pre-assigned (eam.2026.01.en)

Official Publication Date: April 24, 2026

Research around Sound and Technologies

Arts and Technologies Manifesto

Arts and Technologies is a project for a technical-scientific periodical concerning the analysis and criticism of works of art in all their forms, with specific reference to technology and research. It is maintained that these two areas are deeply interconnected and currently determine the nature of every art form.

The editorial project is founded on the epistemological concept of the work of art—viewed through historical-artistic, cultural, and aesthetic values, as well as reflections on the conditions of knowledge, means of production, and ways of creating meaning. This concept is thus emancipated from traditional categories and genre definitions of artistic practice, as it pertains to formal and compositional processes which, from the perspective of technical and expressive research, primarily imply an analysis of systems of thought and their structuring for creative ends.

Our research focuses on the concepts and fields of interdisciplinarity and signification in relation to new technologies—what is known in the musical field as the electroacoustic sense.

Since the emergence of technologies and throughout their development, a radical paradigm shift has occurred at the base of the constitutive processes of the work of art in all its forms. This shift is so profound that even those who do not work with art in direct relation to technology, or those who do not compose electronic music, nevertheless operate—both practically and culturally—within a technological cultural logic, as the latter is inherent to the current historical and social context. This is more evident than ever in the fields of photography and electronic music, whose histories are characterized internally by the historical transition from analog to digital, and externally by their emancipation from the older fields of painting and instrumental or orchestral music. However, electronic music is an even younger art than photography; as such, its independence as a technological art and a unique, singular space—with its own spheres, techniques, and stylistic and formal apprehensions—is still very much open to debate for reasons we wish to observe, investigate, and present throughout our editorial activity.

Cognitive research is firmly intertwined with technology when the latter is employed functionally within creative processes and artistic activity. Thus, photography, like cinema, established itself as its own singular place; and it is in this exact way that electronic music, in any case, asserts itself. The primary proof of this lies in the recognition by instrumental music of the influence it has undergone from technologies since their first appearance, in terms of both composition and orchestration.

Even in painting and literature, the paradigm shift is structural, as it lies at the foundation—the level of thought—of syntactic processes of constitution. It is worth noting that painting today lives through digital imaginaries, in the sense that it cannot transcend the comparison with them, just as literature lives through cinematographic imaginaries. Finally, it must be said that the fermenting melting pot of today is undoubtedly the world of audiovisuals.

The most original and authentic technical-scientific approach lies in opening oneself to a thought yet to be thought, yet already advenient within the totality of means and levels that we ourselves are—a path onto which the multimedia work launches us through more directly experienced modes of knowledge.

As art engaging with new technologies reveals to us every day, the ordinary conception of «fields» and «disciplines», as well as the Western systematization into utilitarian sectors, while constituting our historical legacy, represent a merely partial and possible perspective.

Faced with a trans-analytical clarity that this outlook demands, the macro-categories of our platform serve purely formal purposes of indexing and navigation. The epistemological orientation of ElectroAcoustics Magazine is adveniently transdisciplinary, undifferentiatedly philosophical, purely technical-aesthetic, and linguistically autonomous; it aims to position itself this side of the obsolete academic-worldly boundaries, in order to restore electroacoustic and audiovisual matter to its constitutive, reticular nature.

EDITORIAL NOTE & PUBLICATION HISTORY

Update Note (April 24, 2026)

Originally published on February 10, 2012, on Electro-Acoustics.org as the foundational manifesto of our editorial vision and integrated into RDM Records' operations in Miami between 2016 and 2018, this article is now republished as part of the journal’s expansion into a global research model.

While the journal and its ElectroAcoustics Research Hub remain the primary venue for peer-reviewed academic research and formal submissions, open discussion, community engagement, and informal dialogue on sound research continue in our dedicated moderated group.

Editorial Note on Editions:

• First Original Publication: February 10, 2012

• Re-edition and Archiving (Miami): March 11, 2016

• Revised and Updated for the Research Hub: April 24, 2026

• Latest Update: August 15, 2026

Preface to the Original 2012 Edition (February 10, 2012)

«Combining the qualities of an editorial with those of an essayistic contribution is the standard approach of our work, given that these texts are not conceived as news articles, but rather as critical reflections. This stems from the fact that our ongoing editorial project is primarily situated within theoretical research that is co-original with professional practice—active across the fields of music, multimedia, and critical theory».

How to Cite this Essay

APA 7th Edition: RDM Records Editorial Team & ElectroAcoustics Board. (2012-2026). Research around Sound and Technologies. Arts & Technologies Manifesto. ElectroAcoustics Magazine, 2026 Series, Art. 2026.01.en. (Selected for Arts & Technologies Print Edition). DOI: Pre-assigned (eam.2026.01.en). Available at: https://rdmrecords.com/arts-and-technologies

Join the Editorial Project / RDM RECORDS EDITORIAL PORTAL

Call for Submissions: Print Periodical Arts & Technologies / ElectroAcoustics Magazine (Online Edition)

We invite composers, theorists, and researchers to submit technical-analytical essays, critical and philosophical contributions, or interdisciplinary — or transdisciplinary — studies examining the intersection between art and modern technologies.

Submission Guidelines:

• Research Fields: Electroacoustics, electronic music, digital photography/art, cinema, and contemporary literature.

• Format: Technical-scientific analyses or essayistic-philosophical reflections.

• Proposals Submission: Please send abstracts or full manuscripts to our editorial team via the Editorial Portal or the Contact page.

RDM Records is committed to fostering a rigorous space for independent philosophical research and the advancement of the technological arts.

Call for Contributions

Editorial and Typographical Note: Arts & Technologies / ElectroAcoustics Magazine utilizes a hybrid APA 7/Chicago Notes citation framework: in-text references anchor the original historical chronology (e.g., Metz, 1991), while footnotes track the specific translation and pagination via a strict outer-round/inner-square bracket hierarchy (e.g., [Eng. tr. ...]). To preserve visual continuum and European philosophical identity in bilingual contexts, all titles and foreign theoretical terms (even within guillemets) are rendered uniformly in italics. Both editions enforce a strict three-tier punctuation hierarchy: guillemets («...») for primary theoretical concepts and direct quotes; double quotation marks ("...") for nested quotes; and single quotes ('...') for metaphors or scare quotes.

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