Bodies of Evidence: movement, music, meaning

Catherine Ann Laws; Kathleen  Coessens; Stacey Sewell

Bodies of Evidence: movement, music, meaning

Catherine Ann Laws, Kathleen Coessens, Stacey Sewell

Music

Research output: Book/Report › Book

Abstract

The origins of this volume lie in research undertaken at the Orpheus Research Centre in Music during 2011-2013, as part of the overarching project Artistic Experimentation in Music. Coessens and Laws led research strands, entitled ‘The role of the body: tacit and creative dimensions of artistic experimentation’ and ‘Space, Sound and Interaction.’ Both included artistic research on aspects of embodiment. A York-ORCiM seminar in May 2013, ‘Embodied and Material Interactions in Music Making,’ acted as a forum for exchange and consolidation of this research.

The volume explores the nature and forms of tacit, embodied knowledge in creative processes, and how experimental practices draw out this knowledge and expose its significance. It comprises 6 chapters (from seven contributors: one joint chapter) plus a series of short interweaving texts extrapolating the interrelationships between contributions. There is also an accompanying DVD of artistic research materials from the projects discussed in the chapters.

Original language	English
Place of Publication	Leuven
Publisher	Leuven University Press
Publication status	Published - 2018

1 Symposium

EMBODIED and MATERIAL INTERACTIONS in MUSIC MAKING
Catherine Laws (Organiser)
14 May 2013 → 15 May 2013
Activity: Participating in or organising an event › Symposium

Cite this

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title = "Bodies of Evidence: movement, music, meaning",

abstract = "The origins of this volume lie in research undertaken at the Orpheus Research Centre in Music during 2011-2013, as part of the overarching project Artistic Experimentation in Music. Coessens and Laws led research strands, entitled {\textquoteleft}The role of the body: tacit and creative dimensions of artistic experimentation{\textquoteright} and {\textquoteleft}Space, Sound and Interaction.{\textquoteright} Both included artistic research on aspects of embodiment. A York-ORCiM seminar in May 2013, {\textquoteleft}Embodied and Material Interactions in Music Making,{\textquoteright} acted as a forum for exchange and consolidation of this research. The volume explores the nature and forms of tacit, embodied knowledge in creative processes, and how experimental practices draw out this knowledge and expose its significance. It comprises 6 chapters (from seven contributors: one joint chapter) plus a series of short interweaving texts extrapolating the interrelationships between contributions. There is also an accompanying DVD of artistic research materials from the projects discussed in the chapters. ",

author = "Laws, {Catherine Ann} and Kathleen Coessens and Stacey Sewell",

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AU - Sewell, Stacey

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AB - The origins of this volume lie in research undertaken at the Orpheus Research Centre in Music during 2011-2013, as part of the overarching project Artistic Experimentation in Music. Coessens and Laws led research strands, entitled ‘The role of the body: tacit and creative dimensions of artistic experimentation’ and ‘Space, Sound and Interaction.’ Both included artistic research on aspects of embodiment. A York-ORCiM seminar in May 2013, ‘Embodied and Material Interactions in Music Making,’ acted as a forum for exchange and consolidation of this research. The volume explores the nature and forms of tacit, embodied knowledge in creative processes, and how experimental practices draw out this knowledge and expose its significance. It comprises 6 chapters (from seven contributors: one joint chapter) plus a series of short interweaving texts extrapolating the interrelationships between contributions. There is also an accompanying DVD of artistic research materials from the projects discussed in the chapters.

M3 - Book

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ER -

Bodies of Evidence: movement, music, meaning

Abstract

Activities

EMBODIED and MATERIAL INTERACTIONS in MUSIC MAKING

Cite this