By Thomas Brett
This dissertation is a research 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 viewpoint, the discourses of technoculture (comprising the suggestions of regulate, transcendence, virtuality, mutation, and allotted cognition) recommend a way of examining various digital musical practices, aesthetics and applied sciences. The dissertation proposes the posthuman either as a idea of musical technoculture and a framework by which to appreciate the activities and concepts of musicians who paintings inside of it. Over various historic, musico-analytical, theoretical and ethnographic case reviews, I loosely draw at the discourses of technoculture to interpret the musical and social meanings of the mind-machine nexus in digital musical practices during the last half-century. My findings recommend that the ever present instruments of the digital musicians---notably, the electronic applied sciences of pcs and software program, but in addition together with older applied sciences corresponding 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 laptop phrases.