Sonic Phantoms

List of Figures
Preface
Acknowledgements
1 Phantasmagenics
1.1 Sonic phantoms as emergent presence
1.2 Presence by apophenia
1.3 Apophenia and creativity
1.4 Creativity with ambiguity
1.5 Ambiguity as intentional practice
2 Inducing the phantasmatic
2.1 Compositional phantasmatic strategies and techniques
2.1.1 Repetition
2.1.2 Persistence
2.1.3 Layering
2.1.4 Noise
2.1.5 Accentuation
2.2 Realms of sonic phantasmatic experience
3 Phantasma Instrumentalis: The Realm of the Instrument
Compositional Series: Harp Phantoms
3.1 Sonic exploration of the instrument
3.2 Instrument preparation & sonic blotscapes
3.3 Ritualization in performance
3.4 Structure and possible variations
3.5 Inherent patterns
3.6 Auditory streaming
3.7 Sonic figure and ground
3.8 Listening modes and perceptual competition
3.9 Accentuation of harp sonic phantoms
3.10 A second life of Harp Phantoms in the studio
4 Phantasma Materialis: The Realm of the Object
Compositional Series: Drawing Phantoms
4.1 Initial material explorations (for a literal 'phono-graphic' performance)
4.2 The Drawing Room
4.3 Transcendent 'boundary loss'
4.4 Automatic drawing - ghosts and dissociation
4.5 Drawing Phantoms performance
4.6 Expanding by narrowing: everyday and induced trance
4.7 Loop multiplicity
4.8 Drawing Phantoms seance
4.9 'EVP' and 'OVP'
5 Phantasma Humana: The Realm of the Voice
Compositional Series: Vocal Phantoms
5.1 Katajjaq
5.2 Vocal Phantoms#18 (for live voices)
5.3 Ancient and recent vocal techniques of illusion
5.4. CyberSongs: Text-to-Speech-to-Song
5.5 Micro-temporal mechanisms
5.6 Semantic satiation and semantization
6 Phantasma Naturalis: The Realm of Nature
Compositional Series: Natural Phantoms
6.1 Listening and recording
6.2 Natural polyphony
6.2.1 Layering
6.2.2 Interlocking
6.2.3 Transitions
6.3 Natural Phantoms
6.4 Beyond composition
7 Coda: Otoacoustic Emissions: The Phantom Within
References
Index