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In this book, scholars and artists explore the relation between
electronic music and bodily expression from perspectives including
aesthetics, philosophy of mind, phenomenology, dance and
interactive performance arts, sociology, computer music and sonic
arts, and music theory, transgressing disciplinary boundaries and
established beliefs. The historic decoupling of action and sound
generation might be seen to have distorted or even effaced the
expressive body, with the retention of performance qualities via
recoupling not equally retaining bodily expressivity. When, where,
and what is the body expressed in electronic music then? The
authors of this book reveal composers, performers, improvisers and
listeners bodies, as well as the works and technologies figurative
bodies as a rich source of expressive articulation. Bringing
together humanities scholarship and musical arts contingent upon
new media, the contributors offer inspiring thought and critical
reflection for all those seriously engaged with the aesthetics of
electronic music, interactive performance, and the body 's role in
aesthetic experience and expression. Performativity is not only
seen as being reclaimed in live electronic music, interactive arts,
and installations; it is also exposed as embodied in the music and
the listeners themselves.
This title was first published in 2000. Rethinking Prejudice offers
the first philosophical monograph on the concept of prejudice. It
takes its start from a study of Enlightenment thought, and pursues
the topic to the reassessment of prejudice in contemporary
hermeneutics. Yet history of ideas is a means rather than an end in
this book. Dorschel analyzes the debates about prejudice from the
17th century onwards in order to shed light upon present concerns.
Prejudice is not something peculiar to racists and similarly
sinister figures, Dorschel argues; rather, it is an indispensable
part of everyone's intellectual repertoire; if relevant phenomena
are to be criticized, a genuine moral stance cannot be avoided.
This book introduces and explores a topic of wide interest,
particularly to those researching within the fields of philosophy,
history of ideas, cultural studies, and social and political
theory.
This title was first published in 2000. Rethinking Prejudice offers
the first philosophical monograph on the concept of prejudice. It
takes its start from a study of Enlightenment thought, and pursues
the topic to the reassessment of prejudice in contemporary
hermeneutics. Yet history of ideas is a means rather than an end in
this book. Dorschel analyzes the debates about prejudice from the
17th century onwards in order to shed light upon present concerns.
Prejudice is not something peculiar to racists and similarly
sinister figures, Dorschel argues; rather, it is an indispensable
part of everyone's intellectual repertoire; if relevant phenomena
are to be criticized, a genuine moral stance cannot be avoided.
This book introduces and explores a topic of wide interest,
particularly to those researching within the fields of philosophy,
history of ideas, cultural studies, and social and political
theory.
In this book, scholars and artists explore the relation between
electronic music and bodily expression from perspectives including
aesthetics, philosophy of mind, phenomenology, dance and
interactive performance arts, sociology, computer music and sonic
arts, and music theory, transgressing disciplinary boundaries and
established beliefs. The historic decoupling of action and sound
generation might be seen to have distorted or even effaced the
expressive body, with the retention of performance qualities via
recoupling not equally retaining bodily expressivity. When, where,
and what is the body expressed in electronic music then? The
authors of this book reveal composers', performers', improvisers'
and listeners' bodies, as well as the works' and technologies'
figurative bodies as a rich source of expressive articulation.
Bringing together humanities' scholarship and musical arts
contingent upon new media, the contributors offer inspiring thought
and critical reflection for all those seriously engaged with the
aesthetics of electronic music, interactive performance, and the
body's role in aesthetic experience and expression. Performativity
is not only seen as being reclaimed in live electronic music,
interactive arts, and installations; it is also exposed as embodied
in the music and the listeners themselves.
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