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Embodied Human–Computer Interaction in Vocal Music Performance
This SpringerBrief provides a unique insight into the practice and research of the connections between voice, HCI and embodiment. Specifically, it explores how the voice can be embodied and mediated by means of gestural communication through sensor interfaces and aims to situate and contextualise various aspects that generate meaningful connections in such interactive interface performance. The author offers an approach for understanding creative practices between humans and computers in gestural live music performance, from the perspective of the embodied relationships created within such systems. Underlying practices, principles and sensor technologies that support creativity in embodied human-computer interaction in vocal music performance are examined and a dynamic framework and tools for anyone wishing to engage with this subject in depth are presented. The book is essential reading not only for musicians, composers, researchers, application developers, musicologists and educators but also for students and tertiary institutions as well as actors and dramaturgs in a music context.
Musical Instruments in the 21st Century
By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: · What are the conditions under which an object is recognized as a musical instrument? · What are the actions and procedures typically associated with musical instruments? · What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? · How is this knowledge being shaped by cultural conventions and temporal con...
Bodily Expression in Electronic Music
In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers’, performers’, im...
Locating Publics
Florian Grote investigates how a local Berlin music scene integrates online media into its cultural practice and why located interaction in clubs and at concert events remains one of the most important forms of communication. Based on detailed empirical data and innovative analytical methods, social situations are described that can only happen as communication in the field deals with the potentials and challenges of online media. The interwoven forms of online and offline activity are presented in a coherent model of public communication within contemporary cultural practice. With its current topic and an innovative set of methods, this study covers new ground for research in the cultural sciences of the digital age.
Artificial Intelligence - Intelligent Art?
As algorithmic data processing increasingly pervades everyday life, it is also making its way into the worlds of art, literature and music. In doing so, it shifts notions of creativity and evokes non-anthropocentric perspectives on artistic practice. This volume brings together contributions from the fields of cultural studies, literary studies, musicology and sound studies as well as media studies, sociology of technology, and beyond, presenting a truly interdisciplinary, state-of-the-art picture of the transformation of creative practice brought about by various forms of AI.
Between Air and Electricity
Composers and sound artists have explored for decades how to transform microphones and loudspeakers from “inaudible” technology into genuinely new musical instruments. While the sound reproduction industry had claimed perfect high fidelity already at the beginning of the twentieth century, these artists found surprising ways of use – for instance tweaking microphones, swinging loudspeakers furiously around, ditching microphones in all kinds of vessels, or strapping loudspeakers to body parts of the audience. Between air and electricity traces their quest and sets forward a new theoretical framework, providing historic background on technological and artistic development, and diagrams of concert and performance set-ups. From popular noise musician Merzbow to minimalist classic Alvin Lucier, cult instrument inventor Hugh Davies, or contemporary visual artist Lynn Pook – they all aimed to make audible what was supposed to remain silent. www.microphonesandloudspeakers.com
Listening Devices
From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term listening device. In conjunction with this concept, the book develops an original and fruitful ...
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Symbolizing Existence
Symbolizing Existence deals with the current rapidly happening “deterritorialization” of everything which was once regarded stable and binding. What we today regard as statistically encoded information is capable to explicate and index the entire realm of what can be expressed and represented through a cascade of geometrical, functional, or finally logified schemes. We are currently experiencing a rapid loss of “grounding” of that which we once considered binding in our cultural and intellectual history. How can we obtain an articulate, cultivate way of thinking about “instances” that does not fall back into a schematic model Platonism (thereby falling behind Plato), and that does not remain enmeshed in an Aristotelian realization dynamics with a naturalism organized by original genus, kinds, and specific marks of distinction? The central phenomenon considered was the technological process of doping material: At the quantum level, a particle or its representation, the point, is no longer “that which has no parts” (Euclid).
