Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System.
This is a paper about resistance and affordance as they relate to music-making in the most extended sense, and perhaps about empathy if this is understood as a capacity to ‘read’ the resistances and affordances of objects, bodies, people, and environments. It proceeds from a set of broad working ass...
| Publicado en: | Contemporary Music Review Vol. 32; no. 2/3; pp. 119 - 135 |
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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=87620997&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 87620997 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: 87620997 10.1080/07494467.2013.775818 ppf: 119 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 279KB tig: atl: Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System. aug: au: Waters, Simon su: Instrument manufacture Music Flute Sympathy Performing arts sug: subj: Instrument manufacture Music Flute Sympathy Performing arts keyword: Instrument-Making Performance Proxemics Resistance Tactility ab: This is a paper about resistance and affordance as they relate to music-making in the most extended sense, and perhaps about empathy if this is understood as a capacity to ‘read’ the resistances and affordances of objects, bodies, people, and environments. It proceeds from a set of broad working assumptions which inform one individual's musical practice, via description of a musical-instrument-making project which is a hybrid of physical and virtual elements and is designed to test those assumptions, to a speculative finale in which it is suggested that musicking might, in some circumstances, be regarded in itself as a form of resistance. It moves from the intimate and personal, through what might be regarded as local concerns to more global observation, prefiguring the structure of the performance system it describes: the Virtual-Physical Feedback flute. 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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