The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music
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作为后人类组合的表演者：当代音乐中的表演者与机器的互动
DOI：
10.1080/07494467.2023.2277978
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发表时间：
2023
影响因子：
0.4
通讯作者：
Dyer M
中科院分区：
文献类型：
--
作者：
Dyer M
数字技术在我们日常生活中的纠缠不能被夸大。它们塑造了我们的具体行为和社会文化互动（Tahirokillu和Magnusson 2021）;获得了流行的出现和变化美学-“前沿”（Rutsky 1999）;并共同构建了超越人类的主体（博尔顿2014; Eckersall和Verdonck 2021; Latour 2002）。这种纠缠在当代音乐实践中也同样普遍，包括古典当代音乐、实验音乐、自由即兴创作和声音艺术。各种形式的创新技术，包括结合编码语言和人工智能的硬件和软件，都与当代音乐实践紧密相连。这种交织，虽然是一个不同的光谱，可以说是创造性实践的美学支柱，以及进取的刺激，允许进入新的表达形式。这样的情景质疑传统的实践者角色，实践方法和传统的认识论。作曲家使用此类技术来增强音乐表演者、与音乐表演者互动甚至取代音乐表演者的情况已经有充分的记录。然而，音乐表演者如何与技术互动却很少受到学术界的关注。任何关于音乐表演者（即表演身体）如何与技术对象和系统（“充满活力的”非人类演员（班尼特2009））相关和相互作用的考虑都必须导航后人类，超人类，非人类，超越人类和电子人等的抽象概念。在更广泛的文化视野中，这些术语让人联想到人类世之后科幻小说的反乌托邦形象（Haraway 2006; Omry 2016; Trippett 2019）。然而，这个问题采取了更广泛的后人类主义观点;一个承认人类机构和认知与智能机器一起重新配置和重新分配的观点（Frauenberger 2019; Hayles 1999），同时将身体作为一个网络实体（Omry 2016; Stenpieste 2022）。我们不太关心通过技术对人类的乌托邦式的增强或反乌托邦式的包容。相反，我们的调查假定表演者作为集合：作为一个动态的网络，相关的，组成部分，其中，技术是一个通过社会物质交换来“物质”（巴拉德2003年）。这些主题在当代艺术，即兴创作和表演研究领域得到了广泛的探索（Eckersall和Verdonck 2021; Landfall 2018）。然而，音乐中的后人类主义讨论围绕着活力，乐器设计以及（数字）流行音乐的生产和消费的概念（Omry 2016）。相反，这个问题旨在建立在对技术在数字音乐实践中的社会文化作用的日益增长的认识（Tahirophillu和Magnusson 2021）以及对当代音乐物质主义和音乐家-对象关系的日益增长的关注（Sergeant，货车Elferen和Wilson 2020; Frank 2020）。
The entanglement of digital technologies within our everyday lives cannot be overstated. They shape our embodied behaviours and socio-cultural interactions (Tahiroğlu and Magnusson 2021); garner a prevailing aesthetic of emergence and change—the ‘cutting edge’(Rutsky 1999); and co-construct the more-than-human subject (Bolton 2014; Eckersall and Verdonck 2021; Latour 2002). This entanglement is no less prevalent in practices of contemporary music, including classical contemporary music, experimental music, free improvisation and sound art. Varied forms of innovative technologies, both hardware and software incorporating coding languages and artificial intelligence, are hardwired into practices of contemporary music. This enmeshment, whilst a varied spectrum, could be said to form the aesthetic backbone of creative practice as well as the enterprising stimulus allowing access to new forms of expression. Such a scenario calls into question traditional practitioner roles, methods of praxis and conventional epistemologies. The employment of such technologies by composers in order to augment, interact with or, indeed, replace the musical performer has been well documented. However, how musical performers interact with technology has received far less scholarly attention. Any consideration of how musical performers—that is, performing bodies—relate to and interact with technological objects and systems—‘vibrant’, nonhuman actors (Bennett 2009)—must navigate the labyrinthine conceptions of the posthuman, transhuman, ahuman, more-than-human and cyborg, amongst others. In the broader cultural eye, such terms conjure dystopian images of science fiction in the wake of the Anthropocene (Haraway 2006; Omry 2016; Trippett 2019). However, this issue takes a broader view of posthumanism; one that acknowledges the reconfiguring and redistribution of human agency and cognition in conjunction with intelligent machines (Frauenberger 2019; Hayles 1999) and simultaneously incorporates the body as a networked entity (Omry 2016; Stępień 2022). We are less concerned with the utopian enhancement or dystopian subsumption of the human via technology. Rather, our inquiry posits the performer as assemblage: as itself a dynamic network of related, constitute parts—of which, technology is one—through which socio-material exchanges come to ‘matter’(Barad 2003). Such themes have been explored extensively in the fields of contemporary art, improvisation and performance studies (Eckersall and Verdonck 2021; Landgraf 2018). However, posthumanist discussions within music centre around notions of liveness, instrument design and the production and consumption of (digital) popular music (Omry 2016). Instead, this issue seeks to build upon the ever-growing awareness of the socio-cultural role of technology in digital music practices (Tahiroğlu and Magnusson 2021) alongside the proliferating concern for contemporary musical materialisms and musician-object relations (Sergeant, van Elferen, and Wilson 2020; Frank 2020).