Understanding computers and cognition
Understanding computers and cognition
Mind over machine: the power of human intuition and expertise in the era of the computer
Mind over machine: the power of human intuition and expertise in the era of the computer
Plans and situated actions: the problem of human-machine communication
Plans and situated actions: the problem of human-machine communication
The creative mind: myths and mechanisms
The creative mind: myths and mechanisms
Parallel distributed processing: explorations in the microstructure of cognition, vol. 1: foundations
Intelligence without representation
Artificial Intelligence
Sorting things out: classification and its consequences
Sorting things out: classification and its consequences
Natural-Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence
Natural-Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence
Embodied cognition: a field guide
Artificial Intelligence
Introducing composed instruments, technical and musicological implications
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
A practical approach towards an exploratory framework for physical modeling
Computer Music Journal
Designing constraints: Composing and performing with digital musical systems
Computer Music Journal
Procedings of the Second Conference on Creativity and Innovation in Design
Digital sound processing preservation: impact on digital archives
Proceedings of the 2012 iConference
Accessibility considerations in designing a layperson's application for score music description
Proceedings of the 7th Audio Mostly Conference: A Conference on Interaction with Sound
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This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture.