Bodies and Digital Discontinuities: Posthumanism, Fractals, and Popular Music in the Digital Age.
This article focuses on popular music by mapping out a shift in recent popular culture that has incorporated both the technologies and the discontinuities of our contemporary digital reality. While musicians from Sun Ra to Daft Punk have been interested in sf themes, I concentrate here on four music...
| Publicado en: | Science Fiction Studies Vol. 43; no. 1; pp. 104 - 123 |
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| Formato: | Artículo |
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University of California Press
Mar2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=113336677&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 113336677 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00917729 SFS jtl: Science Fiction Studies issn: 00917729 maglogo: N pubinfo: dt: Mar2016 vid: 43 iid: 1 pid: 414 pub: University of California Press artinfo: ui: 113336677 10.5621/sciefictstud.43.1.0104 ppf: 104 ppct: 19 formats: fmt: @attributes: type: P size: 1.2MB tig: atl: Bodies and Digital Discontinuities: Posthumanism, Fractals, and Popular Music in the Digital Age. aug: au: Omry, Keren su: Discontinuity (Philosophy) Posthumanism Fractals Popular music, 2011-2020 Hayles, N. Katherine Digital audio sug: subj: Discontinuity (Philosophy) Posthumanism Fractals Popular music, 2011-2020 Hayles, N. Katherine Digital audio ab: This article focuses on popular music by mapping out a shift in recent popular culture that has incorporated both the technologies and the discontinuities of our contemporary digital reality. While musicians from Sun Ra to Daft Punk have been interested in sf themes, I concentrate here on four musicians who move beyond thematic content or performative stance, and adapt their creative processes, the resulting outputs, and their overall aesthetic programs to accomodate changing relations between the body and creativity that are marked by contemporary technology. Amon Tobin, Björk, Beck, and Kutiman are all thoroughly enmeshed in the sf effects and aesthetics that pervade Western popular culture, acknowledging the inextricable penetration of technology, even in its most sophisticated forms, into the commonplace and the aesthetic. I claim that fractal geometry can provide a system of analysis through which current cultural, aesthetic, and political productions can be better understood. In turning to the fractal-literally, thematically, technically, and/or metaphorically-these musicians map out the geometry of a natural world in which the technological has become organic and is welcomed as a productive source of beauty in our posthuman and distinctly sciencefictional era. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Science Fiction Studies is the property of University of California Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Science Fiction Studies holder: University of California Press dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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