<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Batsis, Dimitri</style></author><author><style face="normal" font="default" size="100%">Bitsikas, Xenophon</style></author><author><style face="normal" font="default" size="100%">Georgaki, Anastasia</style></author><author><style face="normal" font="default" size="100%">Evaggelou, Angelos</style></author><author><style face="normal" font="default" size="100%">Tigas, Panagiotis</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Biomusic: The carrier</style></title><secondary-title><style face="normal" font="default" size="100%">Technoetic Arts</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2012</style></year></dates><number><style face="normal" font="default" size="100%">2-3</style></number><publisher><style face="normal" font="default" size="100%">Intellect</style></publisher><volume><style face="normal" font="default" size="100%">9</style></volume><pages><style face="normal" font="default" size="100%">209–216</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The present work investigates the concept of sound, in relation to the new means and&lt;br&gt;sciences under different perspectives, ultimately providing an analysis of the newborn&lt;br&gt;artistic movement of bioart. It deals with two parts. The first part of the study is based&lt;br&gt;upon reference, investigating the interconnection between art and science. This&lt;br&gt;mechanism is characterized by transformation processes in the interdisciplinary&lt;br&gt;practices that are applied mainly by various artists and movements of the second post&lt;br&gt;world war period. The expressive element seeks for an unworldly explanation through&lt;br&gt;audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of&lt;br&gt;musical elements in his paintings, Rimington’s attempts to marry audiovisual influences&lt;br&gt;in his “colour organs”, the experimentations of composers like Xenakis and Stockhausen&lt;br&gt;at various locations with light and color proves the continuous quest to render sound by&lt;br&gt;the use of new means. Technology is a vital component of transformation as it enhances&lt;br&gt;the syncretic creativity for various art domains like the ones that Fluxus deployed. Νam&lt;br&gt;Jun Paik and Dick Higgins introduce radical techniques in their performances as they&lt;br&gt;detach their selves from the parameters that define composition and use the mind and&lt;br&gt;power of sentiment in order to identify reality aurally and optically. Towards the end of&lt;br&gt;the 20th century we witness the appearance of new art forms like bioart. The human&lt;br&gt;body, host of material and immaterial functions comes to the forefront of art practice. Its&lt;br&gt;relation to elements such as oscillations and vibrations that express the energy flow are&lt;br&gt;analyzed through the model of spiritualism that came from eastern thought. The notion&lt;br&gt;of digital embodiment is presented as a reminder, highlighting the importance of&lt;br&gt;technology in biotechnology and genetics.&lt;br&gt;The second part of the study involves an experiment. This is how the concept of&lt;br&gt;biomusic is applied with the use of ECG data from the MIT PhysioNet database. As&lt;br&gt;sound penetrates the entire human body, it can be analyzed in all of its phasma. Using&lt;br&gt;that information we attempt to translate/transform that biological sound phenomena into&lt;br&gt;music. The sound produced by the elaboration of data which result from biological&lt;br&gt;functions, can be described as Biomusic. It can be transformed into frequencies related&lt;br&gt;to time and be expressed into music themes. Sonification plays an important role in this&lt;br&gt;research as it constitutes a quick and precise rendering of the polymorphic information&lt;br&gt;(in this case the E.C.G.) in musical notes. This modeling and musical attribution leads in&lt;br&gt;two distinguished results each one of them concerning different clinical cases (all data&lt;br&gt;belong to a normal heart function and a pathological one). The invention of this novel&lt;br&gt;system is suggested for the scientific as well as for the music discipline. It has the ability&lt;br&gt;to be implemented in an experimental form and obtain an educational character. The&lt;br&gt;transformation process avoids compensation throughout the matching process in&lt;br&gt;between E.C.G. functions and music, while focusing on the aesthetic factor at the same&lt;br&gt;time. Sound meets art in the world of Biomusic as it takes shape through technology,&lt;br&gt;constituting a new medium to further evolve the model of ‘’biology into art’’&lt;br&gt;transformation.</style></abstract></record></records></xml>