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Ideologies of the musical meta-face: From Thomas Mann to Hatsune Miku. Toward a post-computational amazement

GABRIELE MARINO
2024-01-01
2024
Inglese
Esperti anonimi
RETI SAPERI LINGUAGGI
2/2024 a. 13
26
383
393
11
The paper uses the case of imaginary and virtual musicians to explore the interrelations between sound, music, body, face – or the absence of these elements – and narrative in a semiotic perspective. It proposes a typology of non-existing musicians, delves deeply into the case of the Japanese Vocaloid/teen idol Hatsune Miku, and speculates on a machinic art – including music – that may transcend human comprehension, created for and by machines. «Post-computational amazement» refers to the dissolution of the relationship between creator, performer and audience, envisioning a scenario in which machines are not employed for vicarious work, whether prosaic or aesthetic.
AI-Generated Music, Post-Computational Amazement, Semiotics, Virtual Musicians
no
   Face Aesthetics in Contemporary E-Technological Societies
   FACETS
   European Commission
   Horizon 2020 Framework Programme
   819649
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262
1
GABRIELE MARINO
info:eu-repo/semantics/article
open
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2318/2030640
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