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Lauren Hayes
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Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2020) 44 (2-3): 24–38.
Published: 27 July 2020
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Nearly two decades after its inception as a workshop at the Association for Computing Machinery Conference on Human Factors in Computing Systems, New Interfaces for Musical Expression (NIME) exists as an established international conference significantly distinct from its precursor. Although this origin story is often noted, the implications of NIME's history as emerging from a field predominantly dealing with human–computer interaction (HCI) have rarely been discussed. In this paper we highlight many of the recent—and some not so recent—challenges that have been brought upon the NIME community as it attempts to maintain and expand its identity as a platform for multidisciplinary research into HCI, interface design, and electronic and computer music. We discuss the relationship between the market demands of the neoliberal university—which have underpinned academia's drive for innovation—and the quantification and economization of research performance that have facilitated certain disciplinary and social frictions to emerge within NIME-related research and practice. Drawing on work that engages with feminist theory and cultural studies, we suggest that critical reflection and, moreover, mediation is necessary to address burgeoning concerns that have been raised within the NIME discourse in relation to methodological approaches, “equity, diversity, and inclusion,” “accessibility,” and the fostering of “rigorous” interdisciplinary research.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2017) 41 (3): 36–49.
Published: 01 September 2017
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Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hacking, field recording, and improvisation. A particular emphasis was placed on providing a form of music education that would engender creative practice that was available to all, regardless of musical ability and background. The findings and outcomes of the project suggest that we should not be restricting to the university level the discussion of how to continue to educate future generations in the practices surrounding computer music. We may be failing to engage an age group that is growing readily familiar with the skills and vocabulary surrounding new technologies.