Feeling Machines: Immersion, Expression, and Technological Embodiment in Electroacoustic Music of the French Spectral School

No abstract is available for this paper.

• Publication year

  2019

• Venue

  Unknown venue

• Publication date

  Unknown publication date

• Fields of study

  Art, Engineering

• Identifiers
  DOI 10.7916/D8-K4NH-ZD64
• External record

  Open on Semantic Scholar

• Source metadata

  Semantic Scholar

• No claims are published for this paper.

• No concepts are published for this paper.

• Do Androids Dream of Electric Sheep?

  2021cited by this paper
• Electronic Inspirations

  2019cited by this paper
• The Sense of an Ending

  2018cited by this paper
• The tree of knowledge

  2017cited by this paper
• A Theory of Musical Gesture and its Application to Beethoven and Schubert

  2017cited by this paper
• Perceptions, Impressions: When Is Hearing "Hearing-As"?

  2017cited by this paper
• A New Approach to the Analysis of Timbre

  2017cited by this paper
• The Work of Art in the Age of Mechanical Reproduction

  2016cited by this paper
• Cinema's Bodily Illusions

  2016cited by this paper
• Performing Live in Second Life

  2016cited by this paper
• Simulation and reality: the new sonic objects

  2016cited by this paper
• A scene without a name: Indie classical and American new music in the twenty-first century

  2016cited by this paper
• Composing Electronic Music: A New Aesthetic

  2015cited by this paper
• Out of Time: Music and the Making of Modernity

  2015cited by this paper
• Sonic Virtuality: Sound as Emergent Perception

  2015cited by this paper
• “Feeling for Beauty”

  2015cited by this paper
• Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity by Anahid Kassabian (review)

  2014cited by this paper
• Appraising Timbre: Embodiment and Affect at the Threshold of Music and Noise

  2014cited by this paper
• The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age

  2014cited by this paper
• the posthuman

  2014cited by this paper
• Immersion in Virtual Worlds

  2014cited by this paper
• Sound Unseen: Acousmatic Sound in Theory and Practice

  2014cited by this paper
• Where Bodies End and Artefacts Begin

  2014cited by this paper
• Technology and the Composer

  2014cited by this paper
• The End(s) of Genre

  2013cited by this paper
• Touch: Real, Apparent, and Absent—On Bodily Expression in Electronic Music

  2012cited by this paper
• Music and affordances

  2012cited by this paper
• Empathy for Objects1

  2011cited by this paper
• Mimesis and the Aesthetics of Musical Expression

  2010cited by this paper
• Selective neurophysiologic responses to music in instrumentalists with different listening biographies

  2009cited by this paper
• Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (review)

  2009cited by this paper
• "What Is an Apparatus?" and Other Essays

  2009cited by this paper
• Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond

  2008cited by this paper
• Just intervals and tone representation in contemporary music

  2008cited by this paper
• Music as Discourse

  2008cited by this paper
• “That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production

  2008cited by this paper
• Contemporary Music Review, Special Issue: Other Darmstadts

  2007cited by this paper
• Listening and Voice: Phenomenologies of Sound

  2007cited by this paper
• Sweet Anticipation: Music and the Psychology of Expectation

  2006cited by this paper
• La Voix et la Machine: La vocalité artificielle dans la musique contemporaine

  2006cited by this paper
• Action in Perception

  2006cited by this paper
• Journal of Experimental Psychology: Human Perception and Performance

  2006cited by this paper
• Echo and Reverb

  2005cited by this paper
• Media Matters: Everyday Culture and Political Change

  2004cited by this paper
• The Audible Past

  2004cited by this paper
• Embodied cognition

  2003cited by this paper
• The paradox of timbre

  2002cited by this paper
• Gérard Grisey : fondements d'une écriture

  2000cited by this paper
• Embodying Technesis: Technology beyond Writing

  2000cited by this paper
• Experimental Brain Research announces Online First publication

  2000cited by this paper
• The feeling of what happens

  1999cited by this paper
• Bodily Hearing: Physiological Metaphors and Musical Understanding

  1999cited by this paper
• Absolute Music and the Construction of Meaning

  1999cited by this paper
• Musicking: The Meanings of Performing and Listening

  1999cited by this paper
• As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert

  1999cited by this paper
• Computer Assisted Composition at Ircam

  1999cited by this paper
• An embodied cognitive science?

  1999cited by this paper
• Defining timbre — Refining timbre

  1994cited by this paper
• Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine

  1994cited by this paper
• Gesture and Speech

  1993cited by this paper
• What in the World Do We Hear? An Ecological Approach to Auditory Event Perception

  1993cited by this paper
• A brief history of synthetic speech

  1993cited by this paper
• THE RAILWAY JOURNEY: THE INDUSTRIALIZATION AND PERCEPTION OF TIME AND SPACE

  1986cited by this paper
• The Relation of Language to Materials

  1986cited by this paper
• Spectra and pixies

  1984cited by this paper
• Laboratory Life: The Construction of Scientific Facts

  1979cited by this paper
• The Rules of The Art

  1971cited by this paper
• Style and Idea

  1950cited by this paper

• No citing papers are available for this paper.