Applying Kinaesthetic Empathy and Extended Mind Theory to Invasive and Discreet Instruments in Sound-Based Live Performance
I have taken the ambiguous psychology of Kinaesthetic Empathy and the relatively recent ideas that form Extended Mind Theory and re-contextualised them so they are relevant to sound-based live performance. I then used these psychologies as a guidance to investigate how we interact with discreet and invasive instruments by analysing specific examples of performance, sound installation and composition. I have defined ‘invasive and discreet’ by using examples of how these instruments are presented as objects in the context of performance. For example, the way in which an object or system can physically invade, and make use of, the performance space when employing technology and physical sculpture; or how an object or system can interact with the performer through tactility and psychological presence. During the process of defining discreet and invasive instruments I noted that there is no binary differentiation because the instruments denotation is dependent on context, sound palette and how they are interpreted as objects for creative expression by the performer. I concluded that the physicality of invasive instruments gives strength to the presentation of ideas in live performance. This is in opposition to discrete instruments which I argue are better suited to studio production or acousmatic performance.
Citation:Spowage, N. (2018) Applying Kinaesthetic Empathy and Extended Mind Theory to Invasive and Discreet Instruments in Sound-Based Live Performance. In: Organised Sound, 23 (3), pp. 277-285
Research Group:Music, Technology and Innovation Institute for Sonic Creativity.
- Leicester Media School