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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

Contribution & Peer Review Status: Foundational Manifesto / Editorial Board Policy Document.

Directly validated and adopted by the Scientific Directorate (Editorial Board Approval).

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

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Research around Sound and Technologies

Arts and Technologies Manifesto

Arts & Technologies is a project for a technical-scientific periodical dedicated to the analysis and criticism of the work of art in all its forms, from the perspective of technology and research. It is maintained that these two dimensions are deeply interconnected: they do not constitute a simple external instrumental apparatus, but currently determine the intrinsic nature of every art form and creation.

The editorial project is founded on the epistemological value of the work of art — grasped in its historical character, its processes of signification, its conditions of knowledge, and its modes of producing meaning; a concept thus emancipated from traditional categorizations and genre barriers of artistic practice: focusing on formal, compositional, and montage processes which, from the perspective of technical and aesthetic research, imply and demand primarily an analysis of systems of thought and their structuring for creative ends. Our research keys concern the dynamics of interdisciplinarity and the generation of meaning in relation to new technologies — what in the musical field is the electroacoustic sense, finding one of its generative nexuses in «reduced listening» or in the «para-acousmatic».

With the emergence and diffusion of technologies, following the thread of their development, the base of the constitutive processes of the work of art in all its forms has been imprinted by a radical paradigm shift, which has occurred to the point that even those who do not deal with art in direct relation to technology, or those who do not compose electronic music, nevertheless operate — both practically and objectively —within the technological cultural and syntactic logic that permeating the historical-social horizon. This is evident more than ever in photography and electronic music, whose genealogies are marked internally by the historical transition from analog to digital, and externally by their emancipation from the older fields of painting and instrumental and/or orchestral music. Electronic music, however, is an art even younger than photography. On the one hand, as a natively technological art, it keeps open the verification of its own ontological autonomy; on the other, as such a young art, its independence as a technological art and a unique, singular place — with its spheres, techniques, and formal and stylistic apprehensions—is still entirely open to debate, for reasons we wish to observe, investigate, and present throughout our editorial activity.

Cognitive research is firmly intertwined with technology where the latter is not tolerated as a mere technical-executive aid or surface decoration, but assumes the technical-essential function of an immanent agent assisting in the production of meaning. This functional employment within creative processes has already allowed photography and cinema to establish themselves as autonomous apparatuses, unique and singular places. And it is this functional employment that allows electronic music, in any case, to assert itself as such. The primary proof of this lies in the way institutional historical and instrumental music has assimilated — and undergone —t he influences of technologies in terms of writing, orchestration, and spatial acoustic management.

Even in painting and literature, the paradigm shift is structural in nature and lies at the foundation—the level of syntactic processes and the composition of thought. Contemporary painting cannot transcend the dialectical engagement with digital imaginaries and matrices, just as literature lives in the refraction of narrative and temporal structures transformed by cinema. The audiovisual event reveals itself, therefore, as the critical melting pot in which the friction of matter for creative ends measures itself against the resistance of the support this side of any form of aesthetic or ideological «lissage».

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 obsolete academic-worldly boundaries, in order to restore electroacoustic and audiovisual matter to its reticular constitutive nature.

EDITORIAL NOTE & PUBLICATION HISTORY

Update Note (April 24, 2026)

The present manifesto — originally published on February 10, 2012, on Electro-Acoustics.org and integrated into RDM Records’ operations in Miami (2016–2018) — is republished as part of the relaunch of the journal ElectroAcoustics Magazine according to the model of scientific research and continuous digital archiving.

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 characters of an editorial with those of an essayistic contribution is a modus operandi of our interventions, given that they are not conceived as newspaper articles but rather as critical reflections; this stems from the fact that the ongoing reference editorial project is primarily situated within theoretical research co-original with professional practice—active across both musical and multimedia fields, as well as in 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 (Continuous Digital Publication) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Selected for Print Edition), RDM Records, 2026 Series, Art. 2026.01.en. 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: To bridge European philosophical traditions with international indexing standards in bilingual contexts, Arts & Technologies / ElectroAcoustics Magazine utilizes a hybrid APA 7/Chicago Notes citation framework embedded seamlessly within footnotes. Rather than using parenthetical in-text citations, each footnote pairs the original work's chronological origin with complete translation and pagination metadata [e.g., Metz, C. (1991), ... [Eng. tr. ..., p. XX]]. Readers will also note our signature European typographic hierarchy: guillemets («...») designate core theoretical concepts and primary quotes, double quotation marks ("...") mark nested citations, and single quotes ('...') frame metaphors or scare quotes, with foreign terms uniformly italicized.

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