Skip to main content

Part of the book series: Springer Series on Bio- and Neurosystems ((SSBN,volume 10))

Abstract

This research presents an overview of the extended applications of enactive and embodied music cognition within creative music and sonic art practice. Digital and haptic technologies, improvisation, and performance have been used to explore a range of interdisciplinary collaborations from pedagogy to health and wellbeing, as well as music perception.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 129.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 169.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 169.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  1. Blacking, J.: How Musical Is Man?. University of Washington Press, Seattle (1974)

    Google Scholar 

  2. Cadoz, C.: Instrumental gesture and musical composition. In: Proceedings of the 1988 International Computer Music Conference, San Francisco (1988)

    Google Scholar 

  3. Davidson, P.W.: Haptic perception. In: S. of Pediatric Psychology (ed.) J. Pediatr. Psychol. 1(3), 21–25. Oxford University Press, Oxford (1976)

    Google Scholar 

  4. DeNora, T.: Music in Everyday Life. Cambridge University Press, Cambridge (2003)

    Google Scholar 

  5. Emmerson, S.: Music imagination technology. In: Proceedings of the 2011 International Computer Music Conference, Huddersfield (2011)

    Google Scholar 

  6. Ferguson, J.R.: Imagined agency: technology, unpredictability, and ambiguity. Contemp. Music Rev. 32(2–3), 135–149. Taylor & Francis, London (2013)

    Google Scholar 

  7. Ferrari, P.F., Rizzolatti, G.: Mirror neuron research: the past and the future. Philos. Trans. R. Soc. Lond. B Biol. Sci. 369(1644), 20130169 (2014). https://doi.org/10.1098/rstb.2013.0169

  8. Gallagher, S., Hutto, D.D., Slaby, J., Cole, J.: The brain as part of an enactive system. Behav. Brain Sci. 36(4), 421–422 (2013)

    Article  Google Scholar 

  9. Glennie, E.: Hearing essay. https://www.evelyn.co.uk/hearing-essay/ (1993). Accessed 23 Nov 2018

  10. Grote, F., Andersen, K., Knees, P.: Collaborating with intelligent machines: interfaces for creative sound. In: Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems. Seoul, 18–23 April 2015 (2015)

    Google Scholar 

  11. Hayes, L.: Practice and research in enactive sonic art. http://www.pariesa.com (n.d.). Accessed 23 Dec 2018

  12. Hayes, L.: Vibrotactile feedback-assisted performance. In: Proceedings of the International Conference on New Interfaces for Musical Expression. Oslo (2011)

    Google Scholar 

  13. Hayes, L., Michalakos, C.: Imposing a networked vibrotactile communication system for improvisational suggestion. Organ. Sound 17(1), 36–44. Cambridge University Press, Cambridge (2012)

    Google Scholar 

  14. Hayes, L.: Haptic augmentation of the hybrid piano. Contemp. Music Rev. 32(5), 499–509. Taylor & Francis, London (2013)

    Google Scholar 

  15. Hayes, L.: Skin Music (2012): an Audio-haptic composition for ears and body. In: Proceedings of the ACM SIGCHI Conference on Creativity and Cognition. Glasgow, 2012 (2015)

    Google Scholar 

  16. Hayes, L.: Enacting musical worlds: common approaches to using NIMEs within both performance and person-centred arts practices. In: Proceedings of the International Conference on New Interfaces for Musical Expression. Baton Rouge (2015)

    Google Scholar 

  17. Hayes, L., Rajko, J.: Towards an aesthetics of touch. In: Proceedings of the 4th International Conference on Movement Computing. ACM, London (2017)

    Google Scholar 

  18. Hayes, L.: Live electronic music performance: embodied and enactive approaches. In: Proceedings of the 5th International Conference on Movement Computing. ACM, Genoa (2018). https://doi.org/10.1145/3212721.3212891

  19. Hayman, G.: Mirror neurons, Husserl, and enactivism: an analysis of phenomenological compatibility. Perspectives 6(1), 13–23 (2016)

    Article  Google Scholar 

  20. Ingold, T.: The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. Routledge, London (2000)

    Google Scholar 

  21. Loaiza, J.M.: From enactive concern to care in social life: towards an enactive anthropology of caring. Adapt. Behav. (2018). https://doi.org/10.1177/1059712318800673

  22. Matyja, J.R., Schiavio, A.: Enactive music cognition: background and research themes. Constr. Found. 8(3), 351–357 (2013)

    Google Scholar 

  23. Merleau-Ponty, M.: Phénoménologie de la perception (1945). English edition: Merleau-Ponty, M.: Phenomenology of Perception (trans: Smith, C.). Routledge and Kegan Paul, London (1962)

    Google Scholar 

  24. Molnar-Szakacs, I., Overy, K.: Music and mirror neurons: from motion to’e’motion. Soc. Cogn. Affect. Neurosci. 1(3), 235–241 (2006)

    Google Scholar 

  25. O’Modhrain, S.: Playing by feel: incorporating haptic feedback into computer-based musical instruments. Ph.D. Dissertation. https://ccrma.stanford.edu/~sile/thesis.html (2001). Accessed 23 Dec 2018

  26. Paterson, M.: The Senses of Touch: Haptics, Affects and Technologies. Berg, Oxford (2007)

    Google Scholar 

  27. Rebelo, P., Coyne, R.: Resisting the smooth: time-based interactive media in the production of distressed space. In: Digital Design: 21st eCAADe Conference (2003)

    Google Scholar 

  28. Roebuck, J.: I am a deaf opera singer. http://www.theguardian.com/theguardian//sep/29/weekend7.weekend2 (2007). Accessed 1 Dec 2018

  29. Small, C.: Musicking: The Meanings of Performing and Listening. Wesleyan University Press, Middletown (2011)

    Google Scholar 

  30. Varela, F.J., Thompson, E., Rosch, E.: The Embodied Mind: Cognitive Science and Human Experience. MIT Press, Cambridge (1991)

    Book  Google Scholar 

Download references

Acknowledgements

Images courtesy of Craig Jackson and Jason Thrasher.

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Lauren Hayes .

Editor information

Editors and Affiliations

1 Electronic Supplementary Material

Below is the link to the electronic supplementary material.

Excerpts from audio-haptic installation, Skin Music, 2012 (MOV 42744 kb)

476737_1_En_7_MOESM2_ESM.mp4

Figurine-Operated String, 2012 (for piano and live electronics) (MP4 29419 kb)

Improvising with the hybrid analogue-digital performance system (MP4 82148 kb)

Media Example 2

Figurine-Operated String, 2012 (for piano and live electronics) (MP4 29419 kb)

Rights and permissions

Reprints and permissions

Copyright information

© 2019 Springer Nature Switzerland AG

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Hayes, L. (2019). PARIESA: Practice and Research in Enactive Sonic Art. In: Contreras-Vidal, J., Robleto, D., Cruz-Garza, J., Azorín, J., Nam, C. (eds) Mobile Brain-Body Imaging and the Neuroscience of Art, Innovation and Creativity. Springer Series on Bio- and Neurosystems, vol 10. Springer, Cham. https://doi.org/10.1007/978-3-030-24326-5_7

Download citation

Publish with us

Policies and ethics