The term emergence can be taken as indicating a conscious utilisation of the changing boundaries between the subject (listener, interpreter) and the maker (artist, composer), in which the former interacts with what the latter has made, such that the work can be said to emerge in its 'use', rather than having been designed in its entirety by the artist and then 'presented'. This too might be regarded as a principle enhanced by the mechanisms (technological and social) associated with digital technologies. (Paraphrase of Simon Waters (2000). Beyond the acousmatic: Hybrid tendencies in electroacoustic music, in Simon Emmerson, ed. Music, Electronic Media and Culture. Aldershot: Ashgate.)

Le terme émergence désigne une utilisation consciente de la frontière mouvante entre le sujet (l'auditeur, l'interprète) et le générateur (l'artiste, le compositeur) dans laquelle le sujet interagit avec ce que le générateur a produit : l'œuvre émerge alors de son utilisation plutôt que d'être entièrement définie et présentée par l'artiste. Cette pratique pourrait être vue comme le témoin de mécanismes (technologique et sociaux) découlant de l'utilisation des technologies numériques. (d'après Simon Waters (2000). "Beyond the acousmatic: Hybrid tendencies in electroacoustic music", in Simon Emmerson, ed. Music, Electronic Media and Culture. Aldershot: Ashgate.)

Il termine Emersione indica un utilizzo cosciente della frontiera mobile tra il soggetto (uditore, interprete) e il generatore (artista, compositore), nella quale il soggetto interagisce con ciò che il generatore produce: l'opera emerge allora dal suo utilizzo più che dall'essere interamente definita e presentata dall'artista. Questa pratica può essere vista come il testimone di meccanismi tecnologici e sociali che derivano dall'utilizzo delle tecnologie numeriche (ridotto da Simon Waters (2000). "Beyond the acousmatic: Hybrid tendencies in electroacoustic music", in Simon Emmerson, ed. Music, Electronic Media and Culture. Aldershot: Ashgate.)

The term emergence can be taken as indicating a conscious utilisation of the changing boundaries between the subject (listener, interpreter) and the maker (artist, composer), in which the former interacts with what the latter has made, such that the work can be said to emerge in its 'use', rather than having been designed in its entirety by the artist and then 'presented'. This too might be regarded as a principle enhanced by the mechanisms (technological and social) associated with digital technologies. (Paraphrase of Simon Waters (2000). Beyond the acousmatic: Hybrid tendencies in electroacoustic music, in Simon Emmerson, ed. Music, Electronic Media and Culture. Aldershot: Ashgate.)

El término emersión (emergence) puede ser tomado como indicador de una utilización consciente de los límites cambiantes entre el sujeto (oyente, intérprete) y el creador (artista, compositor), donde el primero interactúa con lo que el segundo hizo, de modo que la obra puede decirse que surge o emerge a través de su "uso", más que haber sido diseñada totalmente por el artista y entonces "presentada". Esto también puede ser considerado como un principio potenciado por los mecanismos (tecnológicos y sociales) relacionados con las tecnologías digitales.

(Paráfrasis de Simon Waters (2000). Beyond the acousmatic: Hybrid tendencies in electroacoustic music, en Simon Emmerson, editor. Music, Electronic Media and Culture. Aldershot: Ashgate)