| Abstract | | To understand the full significance of computer music's instrumentality, I propose to extend Heidegger's reflection on technology to a broader complex of concepts that Michel Foucault defined. This reflection leads to a perspective that highlights issues of somaticity and performative textuality in computer music. It also helps underscore a new understanding of subjectivity, a new way of being-in-the-world. In this context, music's creative movement can be seen as flowing through negotiation with discourses' formalism and exertion of our practices, to emerge in a thought, a Handwerk, embodied in our actions.
|
