On mapping as a technoscientific practice in digital musical instruments
File(s)
Accepted version
Author(s)
McPherson, Andrew
Morrison, Landon
Davison, Matt
Wanderley, Marcelo
Type
Journal Article
Abstract
This article provides historical context for the emergence of “mapping” as a key
conceptual metaphor in the context of digital musical instrument (DMI) design and
use. In addition to a consideration of different technical implementations, we offer a critical assessment of the tendency to over-generalise mapping as a universal
model for both building instruments and analysing them in retrospect. This reification of mapping as a design model, as well as of the dimension spaces of sound
and gesture being mapped, is read through a media-theoretical lens, drawing on
recent work from interface studies to show how mapping actively constructs ideological relationships between performers and underlying systems of musical representation. While acknowledging the practical utility of traditional formulations of
mapping in DMIs, we focus on issues arising from their over-generalisation, including
the sometimes-misleading impression of representational stability, the suitability of
spatial metaphors, and the assumption of unidirectionality and temporal stasis. In
closing, the article explores alternatives based on a relational approach to mapping
as an “intra-active” process that is bidirectional at every step, fluid in its distinction
of categories, and more dynamic across its variegated temporalities.
conceptual metaphor in the context of digital musical instrument (DMI) design and
use. In addition to a consideration of different technical implementations, we offer a critical assessment of the tendency to over-generalise mapping as a universal
model for both building instruments and analysing them in retrospect. This reification of mapping as a design model, as well as of the dimension spaces of sound
and gesture being mapped, is read through a media-theoretical lens, drawing on
recent work from interface studies to show how mapping actively constructs ideological relationships between performers and underlying systems of musical representation. While acknowledging the practical utility of traditional formulations of
mapping in DMIs, we focus on issues arising from their over-generalisation, including
the sometimes-misleading impression of representational stability, the suitability of
spatial metaphors, and the assumption of unidirectionality and temporal stasis. In
closing, the article explores alternatives based on a relational approach to mapping
as an “intra-active” process that is bidirectional at every step, fluid in its distinction
of categories, and more dynamic across its variegated temporalities.
Date Acceptance
2024-12-10
Citation
Journal of New Music Research
ISSN
0929-8215
Publisher
Taylor and Francis Group
Journal / Book Title
Journal of New Music Research
Copyright Statement
Subject to copyright. This paper is embargoed until publication. Once published the author’s accepted manuscript will be made available under a CC-BY License in accordance with Imperial’s Research Publications Open Access policy (www.imperial.ac.uk/oa-policy).
License URL
Publication Status
Accepted
Rights Embargo Date
10000-01-01