‘Touch’, and the return of the body to digital music-making in general, has taken on a central importance in electronic instrument design and theory in recent decades. ‘Touch’ and lack thereof has been considered central to the challenge of a ‘disconnect’ between musicians’ bodily actions and digital instruments, and as a solution to it that instruments ‘of the future’ can provide. But ‘touch’ is not a universal quantity; it is a construction that varies widely in its application and invocation, across academic and commercial contexts of instrument design. This article examines the complex history of the contemporary concern with ‘touch’, and its role in the framing and reception of instruments such as ROLI’s Seaboard, JazzMutant’s Lemur, Sensel’s Morph and the Joué. With reference to writings on embodied cognition, the recent material turn in the humanities and to Mills and Sterne’s concept of dismediation it seeks to historicise, interrogate, and denaturalise ‘touch’ within instrument design and its surrounding discourse.

中文翻译：

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失去联系？用“未来”仪器重新连接身体的挑战

近几十年来，“触摸”以及身体回归数字音乐制作，在电子乐器设计和理论中占据了核心地位。“触感”和缺乏触感被认为是解决音乐家身体动作与数字乐器之间“脱节”这一挑战的核心，并作为“未来”乐器可以提供的解决方案。但是“触摸”不是一个通用量；它是一种在仪器设计的学术和商业环境中的应用和调用差异很大的结构。本文探讨了当代关注“触摸”的复杂历史，以及它在 ROLI 的 Seaboard、JazzMutant 的 Lemur、Sensel 的 Morph 和 Joué 等乐器的框架和接收中的作用。参考关于具身认知的著作，