By Thomas Brett
This dissertation is a learn of creativity, expertise, and the posthuman in modern digital music-making. The posthuman is known because the assembly aspect of people and machines that reconfigures humanistic conceptions of the self sufficient, artistic self. From a posthuman standpoint, the discourses of technoculture (comprising the recommendations of keep an eye on, transcendence, virtuality, mutation, and dispensed cognition) recommend a way of reading a number digital musical practices, aesthetics and applied sciences. The dissertation proposes the posthuman either as a idea of musical technoculture and a framework during which to appreciate the activities and ideas of musicians who paintings inside of it. Over various old, musico-analytical, theoretical and ethnographic case stories, I loosely draw at the discourses of technoculture to interpret the musical and social meanings of the mind-machine nexus in digital musical practices over the last half-century. My findings recommend that the ever present instruments of the digital musicians---notably, the electronic applied sciences of desktops and software program, but additionally together with older applied sciences equivalent to tape recorders and the chinese language I-Ching ---impact how musicians take into consideration and actualize creativity and the belief of what's human. In sum, the mind-machine nexus foregrounded in digital musical idioms is a efficient website for knowing the contours of an rising techno-musical cultural imaginary the place the human turns into posthuman via its reconfiguration in desktop phrases.