Body as Instrument explores how musicians interact with movement-controlled performance systems, producing sounds imbued with their individual physical signature. Using motion tracking technology, performers can translate physical actions into sonic processes, creating or adapting novel gestural systems that transcend the structures and constraints of conventional musical instruments. Interviews with influential artists in the field, Laetitia Sonami, Atau Tanaka, Pamela Z, Julie Wilson-Bokowiec, Lauren Sarah Hayes, Mark Coniglio, Garth Paine and The Bent Leather Band expose the transformational impact of motion sensors on musicians' body awareness and abilities. Coupled with reflection on author-composed works, the book analyses how the body as instrument metaphor informs relationships between performers, their bodies and self-designed instruments. It also examines the role of experiential design strategies in developing robust and nuanced gestural systems that mirror a performer's movement habits, preferences and skills, inspiring new physical forms of musical communication and diverse musical repertoire.
Body as Instrument explores how musicians interact with movement-controlled performance systems, producing sounds imbued with their individual physical signature. Using motion tracking technology, performers can translate physical actions into sonic processes, creating or adapting novel gestural systems that transcend the structures and constraints of conventional musical instruments. Interviews with influential artists in the field, Laetitia Sonami, Atau Tanaka, Pamela Z, Julie Wilson-Bokowiec, Lauren Sarah Hayes, Mark Coniglio, Garth Paine and The Bent Leather Band expose the transformational impact of motion sensors on musicians' body awareness and abilities. Coupled with reflection on author-composed works, the book analyses how the body as instrument metaphor informs relationships between performers, their bodies and self-designed instruments. It also examines the role of experiential design strategies in developing robust and nuanced gestural systems that mirror a performer's movement habits, preferences and skills, inspiring new physical forms of musical communication and diverse musical repertoire.
Unaccompanied and separated children continue to be caught up in programs to deflect unauthorised Australian boat arrivals to offshore processing centres. If such children do make it to Australia, the processes for identifying children travelling alone are inadequate, with too much reliance placed on the self-identification of such children. No child victim of trafficking has been identified in Australia since 1994. Australia's refugee status determination system was established with adult asylum seekers as the norm. Children face obvious disadvantage in both articulating their story and in being heard. At the crucial first point of contact with authorities children are required to articulate their need for protection without either an advisor or an effective guardian. Case studies of children within the asylum process also suggest that immigration officials and officials at appellate level have been poorly trained and have lacked the skills to deal with child asylum seekers with appropriate sensitivity. Another barrier faced by these children is legal: questions remain as to how well the international definition of refugee has been read to accommodate the particular experiences of children. It is hoped that this report will encourage Australian officials to think seriously about children as refugees in their own right - most particularly when the children are travelling alone.This Report was funded by the MacArthur Foundation (Chicago), the Australian Research Council and the Myer Foundation.Also available Seeking Asylum Alone - A Comparative Study- Unaccompanied and Separated Children and Refugee Protection in Australia, the UK and the US, by Jacqueline Bhabha and Mary Crock.
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