Of Epistemic Tools: musical instruments as cognitive extensions
Of Epistemic Tools: musical instruments as cognitive extensions
复制标题
认知工具：乐器作为认知的延伸
作者：
Thor Magnusson
本文探讨了声学乐器和新的数字乐器在设计和演奏方面的差异，认为新的数字乐器增加了对音乐理论的封装。出发点是乐器的现象学，它导致了对设计的人工制品作为人类认知的延伸的探索--作为我们委托部分认知过程的脚手架。这篇论文简明扼要地强调了数字乐器与声学乐器相比所具有的明显的认识性。通过对物质认识论的分析，可以将数字仪器描述为一种认识工具：一种设计的工具，具有高度的符号相关性，以至于它以自己的术语成为一个知识和思维系统。最后，本文总结了现象学和认识论的争论，并指出了数字乐器设计中的问题，因为它们对音乐文化具有强烈的美学意义。
This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture.