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Harmonic Materials: Composing with found objects and a camera-based synthesiser

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Název: Harmonic Materials: Composing with found objects and a camera-based synthesiser
Autoři: Butt, Jasmine, Renney, Nathan, Gaster, Benedict R, Mitchell, Tom
Rok vydání: 2025
Sbírka: University of the West of England, Bristol: UWE Research Repository
Témata: CCS Concepts • Human-centered computing → Interaction design theory, concepts and paradigms, HCI theory, concepts and models, Gestu- ral input, Auditory feedback, Graphics input devices Keywords Materialism, Bricolage, Distributed Cognition, Composition
Popis: Emerging discourse concerning material drift and decentring the human in Music Technology research is often centred around designing new musical instruments, but the process of composing materials is made explicit, and where, at times, the composer influences rather than controls sonic output. Offering a fine-grained, reflection-in-action account of the process of composing a piece for performance, comprising of field notes, video documentation and a graphic score, we explore the compositional process through a longstanding 4Es theory of cognition, which proposes that cognition is Embodied, Embedded, Extended and Enactive.We found that inserting physical materials into the feedback loop between the composer and the instrument encourages playfulness and indeterminacy in the compositional process, where shifting constraints choreograph unforeseen interactions. These interactions interlock in different ways, shaping a composition that emerges through the instrument’s self-disclosure, as entanglements between player, instrument, environment and materials gradually reveal themselves.
Druh dokumentu: text
Jazyk: English
Relation: https://uwe-repository.worktribe.com/output/14447031
Dostupnost: https://uwe-repository.worktribe.com/output/14447031
Přístupové číslo: edsbas.C2A0C552
Databáze: BASE
Popis
Abstrakt:Emerging discourse concerning material drift and decentring the human in Music Technology research is often centred around designing new musical instruments, but the process of composing materials is made explicit, and where, at times, the composer influences rather than controls sonic output. Offering a fine-grained, reflection-in-action account of the process of composing a piece for performance, comprising of field notes, video documentation and a graphic score, we explore the compositional process through a longstanding 4Es theory of cognition, which proposes that cognition is Embodied, Embedded, Extended and Enactive.We found that inserting physical materials into the feedback loop between the composer and the instrument encourages playfulness and indeterminacy in the compositional process, where shifting constraints choreograph unforeseen interactions. These interactions interlock in different ways, shaping a composition that emerges through the instrument’s self-disclosure, as entanglements between player, instrument, environment and materials gradually reveal themselves.