<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>47</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Lemi, Esther</style></author><author><style face="normal" font="default" size="100%">Georgaki, Anastasia</style></author><author><style face="normal" font="default" size="100%">Whitney, J</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Reviewing the transformation of sound to image in new computer music software</style></title><secondary-title><style face="normal" font="default" size="100%">Proceedings of the 4th Sound and Music Computing Conference</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2007</style></year></dates><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">In the following essay we are going to analyse the&lt;br&gt;relationship between sound and image in computer&lt;br&gt;music. We will be examining sound visualisation&lt;br&gt;software, and its evolution over the thirty-five year&lt;br&gt;timespan in which it has existed. How we judge software,&lt;br&gt;is based on aesthetic criteria, the way they were handed&lt;br&gt;down to us from theories of abstract painting (20th&lt;br&gt;century avant-garde) , the theory of montage by Sergei&lt;br&gt;Eisenstein, of neurophysiology (synesthesia, muscular&lt;br&gt;images) and of the successful correspondence of the&lt;br&gt;two media (pixel and music) in the works and theory&lt;br&gt;of James Whitney.</style></abstract></record></records></xml>