This article narrates my practice-based research in embodied sonic meditation, as a Digital Musical Instrument (DMI) designer, a vocalist, a composer, a media artist and a long-term meditation practitioner. I define the concept of ‘embodied sonic meditation’ in the context of electroacoustic sound art with the augmentation by music technology and human-centred design. I historically connect embodied sonic meditation to its roots in Tibetan Buddhism and several inspiring music compositional practices in the Western world from the second half of the twentieth century. I argue that physicality and spirituality are unified in an inseparable non-duality form, through sound, body and mind. I develop a methodology for embodied sonic meditation practice, built on fifteen design principles based on previous research in DMI design principles, neuroscience research in meditation, Csikszentmihalyi’s Flow Theory, and the criteria of efficiency, music subjectivity, affordance, culture constraints and meaning making. I then make reference to three proof-of-concept case studies that use a sensor-augmented body as an instrument to create sound and sonic awareness. I argue that embodied sonic meditation affords an opportunity for sound art to mediate cultures, improve people’s well-being, and better connect people to their inner peace and the outer world.

中文翻译：

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从身体到精神：定义具身声波冥想的实践

这篇文章讲述了我作为数字乐器 (DMI) 设计师、歌手、作曲家、媒体艺术家和长期冥想练习者在具身声波冥想方面的实践研究。我在电声声音艺术的背景下定义了“具身声音冥想”的概念，并通过音乐技术和以人为本的设计进行了增强。从历史上看，我将具体化的声音冥想与它在藏传佛教中的根源以及 20 世纪下半叶西方世界的一些鼓舞人心的音乐创作实践联系起来。我认为肉体和灵性通过声音、身体和思想以不可分割的非二元形式统一起来。我基于先前对 DMI 设计原则的研究，基于十五个设计原则开发了一种具体的声波冥想练习方法，冥想中的神经科学研究、Csikszentmihalyi 的心流理论，以及效率标准、音乐主体性、可供性、文化约束和意义构建。然后，我参考了三个概念验证案例研究，它们使用传感器增强的身体作为创造声音和声音意识的工具。我认为，具身的声音冥想为声音艺术提供了一个机会来调解文化，改善人们的福祉，并更好地将人们与内心的平静和外部世界联系起来。