Tele-touch embodied controllers; posthuman gestural interaction in music performance

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dc.contributor.author Beilharz, Kirsty en_US
dc.contributor.editor en_US
dc.date.accessioned 2012-10-12T03:34:39Z
dc.date.available 2012-10-12T03:34:39Z
dc.date.issued 2011 en_US
dc.identifier 2010005822 en_US
dc.identifier.citation Beilharz Kirsty 2011, 'Tele-touch embodied controllers; posthuman gestural interaction in music performance', Routledge, vol. 21, no. 4, pp. 547-568. en_US
dc.identifier.issn 1035-0330 en_US
dc.identifier.other C1 en_US
dc.identifier.uri http://hdl.handle.net/10453/18732
dc.description.abstract This article looks at the use of embodied music controllers for gestural interaction with sound. The technology for embodied interaction involves microchip 'enhancement' of the human body, enabling the body as the music controller or musical actuator and connecting the performer with a networked (wireless) sonic performance environment. To examine the ways that the audience and performer respond to this new performance paradigm, this article first looks at some interpretations and understandings of posthumanisim and cyborgism and its effects for the music performer and audience. The influential body modifying and skin boundary cultures that colour audience perception and motivate cyborg processes, the body as expressive canvas and politicising cyborgism are considered in relation to alterity, community, marking and anthropology. The further social implications of radiofrequency identification tag technology and computing technologies that transfigure our body-limits and sense of self, privacy and human machine integration are considered, particularly as contemporary posthuman tele-tactile technologies challenge conventional notions of touch and control. The Virtual Gamelan performance environment is presented as a test-bed for precision gestural interaction with sound, and to gauge audience feedback about these contentious contemporary issues that bleed into other pervasive technologies of the imminent future. This research was developed from the perspective of the music composer/performer and the motivation to explore posthuman cyborg notions through the embodiment of sensors in the disciplines of music, human computer interaction, and design in a technological cyborg discussion that positions it differently to 'mythological' cyborg discourse. The embodiment and permeation of the body are integral to the research goal of altering music performance paradigms. en_US
dc.language en_US
dc.publisher Routledge en_US
dc.relation.isbasedon http://dx.doi.org/10.1080/10350330.2011.591997 en_US
dc.title Tele-touch embodied controllers; posthuman gestural interaction in music performance en_US
dc.parent Social Semiotics en_US
dc.journal.volume 21 en_US
dc.journal.number 4 en_US
dc.publocation UK en_US
dc.identifier.startpage 547 en_US
dc.identifier.endpage 568 en_US
dc.cauo.name DAB.School of Design en_US
dc.conference Verified OK en_US
dc.for 120300 en_US
dc.personcode 998722 en_US
dc.percentage 40 en_US
dc.classification.name Design Practice and Management en_US
dc.classification.type FOR-08 en_US
dc.edition en_US
dc.custom en_US
dc.date.activity en_US
dc.location.activity en_US
dc.description.keywords tele-tactile music; networked music performance; cyborg music performance; sensor interaction; gestural sound control; radiofrequency identification tags; posthumanism; proprioception. en_US
dc.staffid 998722 en_US


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