Mimetic Space: a conceptual framework for the discussion, analysis and creation of mimetic discourse and structure

Electroacoustic mimetic discourse opened new semiotic channels through its potential to immerse the listener in virtual sonic realities, exploiting our innate mechanisms for source bonding1. However, the product of years of creative practice exploiting mimesis suggests the need for development and refinement of the conceptual tools arising from such mechanisms. This paper aims to provide an initial version of a framework and terminology for the discussion, analysis and creation of music that articulates mimetic discourse and structure. In doing so, it also aims to provide parallel and complementary approaches to those to those concerned with the aural and spatial aspects of musical articulation. The discussion begins by proposing the notion of multi-dimensional mimetic space, taking as its point of departure Emmerson’s Language Grid (Emmerson, 1986). This is followed by the construction of mimetic continua, similar in function to those proposed by spectro-morphology, but applicable to mimetic material. Once these are established, the argument focuses on the implications of the introduction of live performers in works that articulate mimetic discourse. It then concludes with a perspective on narrative as a component of mimetic space; introducing the concept of signifier space. Mimesis and Emmerson’s Grid Emmerson first defined mimetic discourse as that which imitates nature (i.e. the physical world) or aspects of human culture not usually associated with musical material (Emmerson, 1986). He also applied this concept in the construction of a Language Grid in order to understand the relationship between syntax and electroacoustic materials; where the latter form a continuum spanning from aural to mimetic (figure 1)