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20. An Approach to the Epistemic Potential of the UPIC

  • Mauricio Meza (author)
Chapter of: Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies(pp. 337–352)

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Metadata
Title20. An Approach to the Epistemic Potential of the UPIC
ContributorMauricio Meza (author)
DOIhttps://doi.org/10.11647/obp.0390.22
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.22
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightMauricio Arturo Meza Ruiz
PublisherOpen Book Publishers
Published on2024-10-09
Long abstractThe UPIC provides access to a musical creative process based on the creation of synthesized sounds through drawing, giving rise to an analogical graphic register, on the one hand, and on the other, a symbolic digital register. The relationship between these graphic and digital registers, as well as the interactive context of their production, are of particular interest for my research, which aims to make an object of study out of the digital trace of the creative process phenomenon. In this chapter, I will, from a traceological perspective, a comparative analysis of two excerpts of the graphic registers of the creation processes of eua'on, by Julio Estrada, and of Mycènes-Alpha, by Iannis Xenakis. An analysis of the traces of use of the UPIC can be conducive to the emergence of knowledge about the process of musical creation.
Page rangepp. 337–352
Print length16 pages
LanguageEnglish (Original)
Contributors

Mauricio Meza

(author)

Mauricio Arturo Meza Ruiz is a musical creator whose process embodies the figures of composer, guitarist, improviser, interactivity designer, curator, and researcher. His catalog reveals a spectrum of artistic activity that encompasses chamber music, electroacoustic music, installation, software, performance, improvisation, chrono-videography, and the series of flow-interactive devices Salto Cuántico de Grafito. He is a PhD candidate in Musical Creation and New Technologies, in the framework of a co-tutelage program between the National Autonomous University of Mexico (UNAM), the Laboratory of Musical Creation (LACREMUS), Sorbonne-Universités, the Institute for Research in Musicology (IReMus), and the Laboratory of Science and Technology of Music and Sound (STMS Lab—Ircam).