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Rethinking Interaction: Identity and...

Kopcienski, Jacob A.

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Rethinking Interaction: Identity and Agency in the Performance of "Interactive" Electronic Music.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Rethinking Interaction: Identity and Agency in the Performance of "Interactive" Electronic Music./
Author:	Kopcienski, Jacob A.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	149 p.
Notes:	Source: Masters Abstracts International, Volume: 80-03.
Contained By:	Masters Abstracts International80-03.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10845903
ISBN:	9780438322202

Rethinking Interaction: Identity and Agency in the Performance of "Interactive" Electronic Music.
Kopcienski, Jacob A.

Rethinking Interaction: Identity and Agency in the Performance of "Interactive" Electronic Music. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 149 p.

Source: Masters Abstracts International, Volume: 80-03.

Thesis (M.A.)--West Virginia University, 2018.

This item must not be sold to any third party vendors.

This document investigates interaction between human performers and various interactive technologies in the performance of interactive electronic and computer music. Specifically, it observes how the identity and agency of the interactive technology is experienced and perceived by the human performer. First, a close examination of George Lewis' creation of and performance with his own historic interactive electronic and computer works reveals his disposition of interaction as improvisation. This disposition is contextualized within then contemporary social and political issues related to African American experimental musicians as well as an emerging culture of electronic and computer musicians concerned with interactivity. Second, an auto-ethnographic study reveals a contemporary performers perspective via the author's own direct interactive experience with electronic and computer systems. These experiences were documented and analyzed using Actor Network Theory, Critical Technical Practice, theories of Embodiment and Embodied Cognition, Lewis's conceptions of improvisation, as well as Tracy McMullen's theory of the Improvisative. Analyses from both studies revealed that when and how performers chose to "other" interactive technologies significantly influenced their actions. The implications of this are discussed in terms of identity formation both within performances of interactive electronic music and interactive technologies generally.

ISBN: 9780438322202Subjects--Topical Terms:

3342382
Music history.

Rethinking Interaction: Identity and Agency in the Performance of "Interactive" Electronic Music.
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520 $a This document investigates interaction between human performers and various interactive technologies in the performance of interactive electronic and computer music. Specifically, it observes how the identity and agency of the interactive technology is experienced and perceived by the human performer. First, a close examination of George Lewis' creation of and performance with his own historic interactive electronic and computer works reveals his disposition of interaction as improvisation. This disposition is contextualized within then contemporary social and political issues related to African American experimental musicians as well as an emerging culture of electronic and computer musicians concerned with interactivity. Second, an auto-ethnographic study reveals a contemporary performers perspective via the author's own direct interactive experience with electronic and computer systems. These experiences were documented and analyzed using Actor Network Theory, Critical Technical Practice, theories of Embodiment and Embodied Cognition, Lewis's conceptions of improvisation, as well as Tracy McMullen's theory of the Improvisative. Analyses from both studies revealed that when and how performers chose to "other" interactive technologies significantly influenced their actions. The implications of this are discussed in terms of identity formation both within performances of interactive electronic music and interactive technologies generally.
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