ElectroAcoustics Magazine
Digital Edition of Arts & Technologies
EDITORIAL NOTE
Launched in 2011 in Milan — and historically founded on the domain electro-acoustics.org — ElectroAcoustics continues its mission as a critical bridge between technology and sound. With Series 2026, we are officially opening our doors to a global network of professionals, students, and researchers operating in the fields of the arts and critical literature. Electroacoustics is one of the main ways to describe music created and composed with new technologies, with reference to studies that address the interdisciplinary nature of music in relation to its values of meaning. In treating art as a source of knowledge, our attention is directed toward independent culture and diverse works of art, provided they possess a strong socio-cultural impact.
In line with the integration of our Research Hub into international scientific indexing circuits, the journal formalizes its standards of critical validation through a peer-review process, relying on an International Scientific Committee. To delve deeper into our vision, read the article: Research Around Sound and Technologies.
LATEST CRITICAL INTERVENTION
8/25/2026
Audiovisual Short-Circuit: Sound, Image, and Time from Epstein to the Digital Era
Between live electroacoustics and film philosophy, a theoretical and historical critical study documents the archival release of the live scoring for Jean Epstein’s La Chute de la Maison Usher, led by Riccardo Sinigaglia. Through the legendary Arp Odyssey of Francesco Bossi (in memoriam), spatialization, and the voice-subject, this audiovisual short-circuit introduces the threshold of the «para-acousmatic», redefining the relationship between sound, «time-crystal», and the immanent text fixed on support, between the historical masterpiece and the digital era. [Read the article]
▼ CONTINUE THE CRITICAL PATH BELOW ▼
Editorial Manifesto (Research on Sound and Technologies):
Manifesto & Epistemological Framework
The institutional reference framework and theoretical matrix of the entire project. From the transition to the new digital syntactic paradigm to trans-analyticity, the foundational document that anticipates and legitimizes the "electroacoustic imperative."
ISSUE #01 – THE «ELECTROACOUSTIC IMPERATIVE»
From the epistemological foundation of the support to critical verification in urban space.
The Resonance of the «Déjà-Là»: Correspondences, Inversions, and Material Frictions Between Chion’s Impossible History and the «Elettroacoustic Imperative»:
Film Theory & Audio-Visual
The encounter between Michel Chion’s film theory and support analysis. Refraction of the concept of lissage and the genesis of the «para-acousmatic» sound body.
Spatialization as an Ontological Act: The Spatial Lutherie of Eraldo Bocca and the Resistance of Matter:
Sound Research
he physical implementation of the theoretical imperative. The construction of the SATOR, AUDIOR, and ADAM Acousmoniums as a material response and acoustic resistance.
The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park:
Film Theory & Audio-Visual / Sound Research
Phenomenological verification in contemporary practice on a spatial and hardware level. A critical inquiry into the use of sound spatialization technologies and their reduction to background noise in public urban space.
Film Analysis: The Digital Corpse — A Critique of Loving Vincent:
Film Theory & Audio-Visual
Phenomenological verification in contemporary practice on an aesthetic and semiotic level. An analysis of the breaking points of the technological imperative through the relationship between painting, animation, and visual perception.
Editorial Manifesto (Research on Sound and Technologies).
The Resonance of the "Déjà-Là": Correspondences, Reversals, and Material Friction Between Chion's Impossible History and the Electroacoustic Imperative.
Spatialization as an Ontological Act: The Spatial Lutherie of Eraldo Bocca and the Resistance of Matter.
The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park.
Film Analysis: The Digital Corpse — A Critique of "Loving Vincent".
Audiovisual Short-Circuit: Sound, Image, and Time from Epstein to the Digital Era:
Film Theory & Audio-Visual / Sound Research
Genealogy and refounding of media perception through the concept of the audiovisual «short-circuit» across the Epstein-Deleuze-Pasolini axis. An analysis of temporal plasticity, the rupture of mimetic synchrony, and performative gesture.
Audiovisual Short-Circuit: Sound, Image, and Time from Epstein to the Digital Era:
Genesis and Historical Traces
Titles In reverse chronological order.
The following list collects the historic contributions published between 2011 and 2012. These same entries are now fully integrated in English into our current editorial platform: you can read them in their correct chronological placement by navigating through the Magazine, in perfect continuity with our constant evolution and new content.
SPAZIALIZATION AS AN ONTOLOGICAL ACT: THE SPATIAL LUTHERIE OF ERALDO BOCCA AND THE RESISTANCE OF MATTER (2026.07.17) / THE RESONANCE OF THE «DÉJÀ-LÀ»: CORRESPONDENCES, INVERSIONS, AND MATERIAL FRICTIONS BETWEEN CHION'S IMPOSSIBLE HISTORY AND THE ELECTROACOUSTIC IMPERATIVE (2026.06.08) / RDM RECORDS RELAUNCHES ELECTROACOUSTIC RESEARCH HUB; CALLS FOR 'ARTS AND TECHNOLOGIES' SUBMISSIONS (2026.05.02) / FILM ANALYSIS: THE DIGITAL CADAVER A CRITIQUE OF "LOVING VINCENT" (2026.04.29) / ARTS AND TECHNOLOGIES EXPLORES THE PROFOUND INTERSECTION OF SCIENTIFIC RESEARCH AND CREATIVE EXPRESSION (2026.04.24) / THE GHOST IN THE GARDEN: AN ELECTROACOUSTIC CRITIQUE OF THE MIAMI BEACH SOUNDSCAPE PARK (2026.04.29) / NEW RELEASE: THE ECHOES OF USHER, A RADICAL "SOUND-THOUGHT" REINTERPRETATION OF JEAN EPSTEIN'S 1928 FILM (2026.03.12) / 2018: RDM RECORDS X JADYS DANIELE'S | THE MIAMI LIVE SERIES (2018.10.22)
2026 Series: The New Critical Body
Continuous Publication.
ACOUSMONIUM SATOR OPENING (2012.02.08) / VOCAL TOTALITY: TECHNICAL ANALYSIS OF TREVOR WISHART'S GLOBALALIA (2011.10.02) / CINEMATIC ANALYSIS: FORMALISM AND PSYCHOANALYSIS IN CRONENBERG (2011.10.07) / ETHNOMUSICOLOGY & AVANT-GARDE: THE CHIMURENGA ENSEMBLE (2011.10.05) / MULTIMEDIA COMPOSITION: SPECTRAL MANIPULATION & INDUSTRIAL AESTHETICS (2011.10.04) / CRITICAL REVIEW: MORRISSEY'S YOU ARE THE QUARRY (2011.09.30) / CINEMATIC COMPARISON: NORDIC REALISM VS. AMERICAN ESTHETICS (2011.09.30) / EVENT COVERAGE: RDM RECORDS & ROMINA DANIELE AT SUPERSOUND FAENZA (2011.09.25) / FINE ARTS CRITIQUE: THE YOUNG RIBERA AT CAPODIMONTE (2011.09.20) / EXHIBITION REVIEW: ARTEMISIA GENTILESCHI AT PALAZZO REALE (2011.09.15) / THEORETICAL ANALYSIS: EJZENŠTEJN'S MONTAGE AND ELECTROACOUSTIC REALITY (2011.09.08) / THEORETICAL REVIEW: MICHEL CHION'S AUDIO-VISION (2011.09.03) / INDUSTRY CALL: NOTHING BUT THE SOUND ANTHOLOGY & RESEARCH ESSAYS (2011.09.01) / LIVING VOICE, RESEARCH REPORT: TREVOR WISHART & EXTENDED VOCALITY IN VENICE (2011.07.29) / REVIEW: "RANDOM OR NOT RANDOM" AT THE MILAN CONSERVATORY (2011.07.19) / ARTIST PROFILE: ROMINA DANIELE & THE SPANNUNG PROJECT (2011.07.14) / EXHIBITION REVIEW: R.A.M. COLLECTIVE – ZOON (2011.01.03)
RDM RECORDS IS A FLORIDA-REGISTERED DBA OF ROMINA DANIELE, OPERATING AS A RECORD LABEL AND BOOK PUBLISHER FOR RDM ROMINA DANIELE MUSIC, A BMI-AFFILIATED MUSIC PUBLISHER.
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