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Theremin in the Press: Instrument remediation and code-instrument transduction
Organised Sound Pub Date : 2018-12-21 , DOI: 10.1017/s135577181800016x
Jaime E. Oliver La Rosa

This article shows how the theremin as a new musical medium enacted a double logic throughout its century-old techno-cultural life. On the one hand, in an attempt to be a ‘better’ instrument, the theremin imitated or remediated traditional musical instruments and in this way affirmed the musical values these instruments materialised; simultaneously, by being a new and different medium, with unprecedented flexibility for designing sound and human–machine interaction, it eroded and challenged these same values and gradually enacted change. On the other hand, the theremin inadvertently inaugurated a practice of musical instrument circulation using electronics schematics that allowed for the instrument’s reproduction, starting with the publication of schematics and tutorials in amateur electronics magazines and which can be seen as a predecessor to today’s circulation of open source code. This circulation practice, which I call instrument-code transduction, emerged from and was amplified by the fame the theremin obtained using its touchless interface to imitate or remediate traditional musical instruments, and in turn, this circulation practice has kept the instrument alive throughout the decades. Thus remediation and code-instrument transduction are not just mutually dependent, but are in fact, two interdependent processes of the same media phenomenon. Drawing from early reactions to the theremin documented in the press, from new media theory, and from publications in amateur electronics, this article attempts to use episodes from the history of the theremin to understand the early and profound changes that electric technologies brought to the concept of musical instruments at large.

中文翻译:

新闻中的Theremin:仪器修复和代码仪器转导

本文展示了特雷门作为一种新的音乐媒介是如何在其百年历史的技术文化生活中制定双重逻辑的。一方面,为了成为一种“更好”的乐器,特雷门模仿或修正了传统乐器,从而肯定了这些乐器所体现的音乐价值;同时,作为一种新的和不同的媒介,在设计声音和人机交互方面具有前所未有的灵活性,它侵蚀和挑战了这些相同的价值观,并逐渐产生了变化。另一方面,Theremin 无意中开始了一种使用电子原理图的乐器流通实践,该电路允许乐器的复制,从在业余电子杂志上发布原理图和教程开始,这可以被视为当今开源代码流通的前身。这种循环实践,我称之为乐器代码转换,源于特雷门使用其非接触式界面模仿或修复传统乐器而获得的名声并被其放大,反过来,这种循环实践使乐器在几十年中保持活力. 因此,修复和代码工具转换不仅是相互依赖的,而且实际上是同一媒体现象的两个相互依赖的过程。从新闻界记录的对特雷门的早期反应、新媒体理论和业余电子出版物中汲取灵感,
更新日期:2018-12-21
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