Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience.
Sounds appear to hold a resistance within themselves, a resistance different from the physical resistance one engages with when playing a musical instrument. I here argue that this felt resistance or tactility can beheard inthe sounds cross-modally by listeners and experienced despite the transparen...
| Publicado en: | Contemporary Music Review Vol. 32; no. 2/3; pp. 151 - 165 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2013
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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=87620994&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 87620994 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: 87620994 10.1080/07494467.2013.775815 ppf: 151 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 127KB tig: atl: Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience. aug: au: Peters, Deniz su: Music orchestration Chamber orchestra Sounds Musical instruments Artists sug: subj: Music orchestration Chamber orchestra Sounds Musical instruments Artists keyword: Active Perception Body Expression Musical Agency Non-physical Instrument Tactility ab: Sounds appear to hold a resistance within themselves, a resistance different from the physical resistance one engages with when playing a musical instrument. I here argue that this felt resistance or tactility can beheard inthe sounds cross-modally by listeners and experienced despite the transparency of instrumental actions and effort an expert performer may achieve. I start by distinguishing the cross-modal phenomenon from instrumental resistance and describe how in dancers' improvised performances with a virtual spatial musical instrument developed and used in the ‘Embodied Generative Music’ project it occurs in a particularly exposed way; I then seek to conceptualise its experience, relating it to perceptive phenomena and concepts of embodied perception; in a third step, I ponder its role in the forming of agency, imagined agency, and expression within musical experience and performance. 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 |
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