Out of Touch? Challenges in Reconnecting Bodies with Instruments 'of the Future'.
'Touch', and the return of the body to digital music-making in general, has taken on a central importance in electronic instrument design and theory in recent decades. 'Touch' and lack thereof has been considered central to the challenge of a 'disconnect' between musicians' bodily actions and digita...
| Publicado en: | Contemporary Music Review Vol. 39; no. 2; pp. 252 - 273 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2020
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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=145732287&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 145732287 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Apr2020 vid: 39 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 145732287 10.1080/07494467.2020.1806629 ppf: 252 ppct: 21 formats: fmt: – @attributes: type: T – @attributes: type: P size: 225KB tig: atl: Out of Touch? Challenges in Reconnecting Bodies with Instruments 'of the Future'. aug: au: Harper, Adam su: Electronic instruments Physical contact Digital audio sug: subj: Electronic instruments Physical contact Digital audio keyword: Digital Music Dismediation Embodiment New Materialism New Musical Interfaces Touch ab: 'Touch', and the return of the body to digital music-making in general, has taken on a central importance in electronic instrument design and theory in recent decades. 'Touch' and lack thereof has been considered central to the challenge of a 'disconnect' between musicians' bodily actions and digital instruments, and as a solution to it that instruments 'of the future' can provide. But 'touch' is not a universal quantity; it is a construction that varies widely in its application and invocation, across academic and commercial contexts of instrument design. This article examines the complex history of the contemporary concern with 'touch', and its role in the framing and reception of instruments such as ROLI's Seaboard, JazzMutant's Lemur, Sensel's Morph and the Joué. With reference to writings on embodied cognition, the recent material turn in the humanities and to Mills and Sterne's concept of dismediation it seeks to historicise, interrogate, and denaturalise 'touch' within instrument design and its surrounding discourse. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd 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: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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