ABSTRACT
This chapter provides a brief contextual overview of the technical histories, aesthetic and experiential issues within electroacoustic composition, illustrated by the case studies of Murdering the Time, Written in His Voice, and Three Days in May. The processes employed throughout the production of the case studies are inspired by the DeleuzoGuattarian concepts of Assemblage, Strata and Temporal Space, and are discussed in relation to the possibility of sonic elements as continually marking territories and defining space. Simon Emmerson’s Language Grid is also compared to the Deleuzian concept of Movement Image, in a reflection of the continuous transformations and relationships between “mimetic” real-world and non-recognizable “aural” sounds to the methods of combining sounds which can be separate or “abstract” from the sound world, or derived “abstracted” from the qualities of the sound world.
