Imagined Agency: Technology, Unpredictability, and Ambiguity.
My work focuses on technologically mediated music-making, in this article I present and interpret audio-visual documents of my performance practice, and reflect on the conceptual and aesthetic motivations that underpin the creative process. Exploring the role of resistance and inertia in the field o...
| Publicado en: | Contemporary Music Review Vol. 32; no. 2/3; pp. 135 - 150 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Jun2013
|
| Materias: | |
| 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=87620991&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 87620991 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Jun2013 vid: 32 iid: 2/3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 87620991 10.1080/07494467.2013.775810 ppf: 135 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 202KB tig: atl: Imagined Agency: Technology, Unpredictability, and Ambiguity. aug: au: Ferguson, John Robert su: Musical performance Performing arts Arts Culture Humanities sug: subj: Musical performance Performing arts Arts Culture Humanities keyword: Agency Imagination Instrument Interface Technology Unpredictability ab: My work focuses on technologically mediated music-making, in this article I present and interpret audio-visual documents of my performance practice, and reflect on the conceptual and aesthetic motivations that underpin the creative process. Exploring the role of resistance and inertia in the field of performing technologies is the main agenda; questions around the location of human agency and its decipherability are foregrounded throughout. Although various theoretical perspectives inform the discussion, these perspectives are (mostly) embedded at the heart of the practical activity, and should not be considered as after-the-fact justification, but as essential elements in unfolding a practice that configures making as thinking and thinking as doing. I hope that the black-and-whiteness of text does not form an obscuring smokescreen of grey around my work, and that the reader finds the discursive and metaphorical approach to be illuminating. The text is supported by video clips which appear as supplementary material accessible online via the article's Supplementary tab on the Taylor & Francis website (http://www.tandfonline.com/loi/gcmr). 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: 2013 holdings: @attributes: islocal: N |
|---|