Feeling at one: Socio-affective distribution, vibe, and dance-music consciousness

Witek, Maria A. G.

doi:10.1093/oso/9780198804352.003.0006

Cited by 23 publications

(7 citation statements)

References 52 publications

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“…From the perspective of predictive processing, beat and meter are mental models that can be shared by all dancers and musicians in a group. If the models are alike, i.e., ‘distributed’ across dancers, they facilitate synchronous movements, which in turn can promote shared affective experiences ( Witek, 2019 ). In addition to strict synchronization, dance is commonly also concerned with the expression of creativity and “individual flourish” ( Merker et al, 2009 ) within the framework of a mental model of beat and meter.…”

Section: Groove In Social Interactionsmentioning

confidence: 99%

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

et al. 2022

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Groove—defined as the pleasurable urge to move to a rhythm—depends on a fine-tuned interplay between predictability arising from repetitive rhythmic patterns, and surprise arising from rhythmic deviations, for example in the form of syncopation. The perfect balance between predictability and surprise is commonly found in rhythmic patterns with a moderate level of rhythmic complexity and represents the sweet spot of the groove experience. In contrast, rhythms with low or high complexity are usually associated with a weaker experience of groove because they are too boring to be engaging or too complex to be interpreted, respectively. Consequently, the relationship between rhythmic complexity and groove experience can be described by an inverted U-shaped function. We interpret this inverted U shape in light of the theory of predictive processing and provide perspectives on how rhythmic complexity and groove can help us to understand the underlying neural mechanisms linking temporal predictions, movement, and reward. A better understanding of these mechanisms can guide future approaches to improve treatments for patients with motor impairments, such as Parkinson’s disease, and to investigate prosocial aspects of interpersonal interactions that feature music, such as dancing. Finally, we present some open questions and ideas for future research.

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Section: Groove In Social Interactionsmentioning

confidence: 99%

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

et al. 2022

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“…Dicho de otra manera, la experiencia se constituye de una sensación de sociabilidad afectiva distribuida entre sonidos, reverberaciones, luces, olores y movimientos cuyos límites están difuminados; una sensación de sociabilidad afectiva sinestésica. En este sentido, Maria Witek (2019), cuyo trabajo se inserta en el cruce entre la cognición musical y la neurociencia, asevera que muchos de los sonidos utilizados en la música electrónica, como el house o techno, tienen una cualidad claramente encarnada, vinculada con sensaciones táctiles.…”

Section: Preparar La Atmósferaunclassified

Atmósferas sonoras y experiencias táctiles: Procesos encarnados y estéticas multisensoriales

González-Grandón,

Suárez Gómez,

García De la Torre

et al. 2024

Arbor

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Este artículo explora la gestualidad multisensorial, háptica y motriz como forma de habitar las atmósferas. Contribuye al desarrollo de epistemologías relacionales sobre la dimensión corporal, al abordar la experiencia corporeizada vivida con entornos aéreos, materiales, ecológicos y sociales, en lugar de centrarse en el significado conceptual y semántico para su explicación. El marco conceptual, se basa en la teoría de las affordances, las ciencias cognitivas enactivas y la fenomenología, que ofrecen una vía para configurar la interacción piel-atmósfera. Consideramos la unidad organismo-entorno y lo que en la literatura se identifica con el concepto de atmósfera sonora. Se introduce la noción de affordances multisensoriales y hápticas como encuentro sensual y atencional de la presencia, para argumentar que tanto el enfoque contemporáneo del cuerpo háptico y gestual con posibilidades afectivas y de movimiento, como la perspectiva estética y ecológico-social de la performatividad -aunque conceptualmente útiles-, pasan por alto la existencia de una fenomenología háptica del reino sensual de las atmósferas. Así, se describe el entrelazamiento de las experiencias sensibles y estéticas con territorios sonoros habitados desde la experiencia táctil. Se discute cómo lo sonoro y la materialidad se utilizan para vivir experiencias particulares del espacio dentro de uno específico: la instalación arpa de fricción. Finalmente, con base en la distinción entre la sensibilidad y la consciencia, se orienta hacia una pedagogía de experiencias háptico-sonoras durante procesos de aprendizaje, útil en contextos de educación corporeizada, estética y crítica. Y se ofrece un lugar para imaginar y escenificar este tipo de entornos de aprendizaje de una manera deliberada, con cualidades permeables, inmersivas, afectivas y colectivas, para acompañar en la co-creación de mundos alternativos.

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“…Recent publications by Maria Witek (2019) and Luis-Manuel Garcia (2020) have made compelling arguments regarding the importance of rhythmic entrainment, vibration and sympathetic resonance to the "vibe" of oceanic unity sought from the EDM experience. Witek, in fact, makes a direct (though hypothetical) link between the "extended consciousness" ideally achieved in the rave to the neural hyperconnectivity induced by drugs like LSD and MDMA (2019: 108).…”

Section: Psychedelics and Timbral Consciousnessmentioning

confidence: 99%

Timbre and the "Zone of Entanglement" in Electronic Dance Music

Perevedentseva

2023

Dancecult

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This article weaves together relational tendencies in recent scholarship spanning philosophy, mycology, psychopharmacology and timbre studies in order to argue that timbre’s unbounded ontology and cyclical re-use across electronic dance music (EDM) history affords listeners experiential access into radically distributed modes of being. Taking its cue from the biological structure of fungal mycelium, from whose flowers the psychoactive compounds of many psychedelic drugs are derived, this study builds on established models of EDM’s affectivity to propose that timbre in EDM manifests a psychedelic and specifically social form of consciousness. Highlighting the potential for entrainment that EDM’s synthesised timbres make possible, a conception of timbre as a mycelial “zone of entanglement” is put forward, in which the material and cultural, individual and social and spiritual and fleshly dimensions of the listening experience are folded into a reverberant unity, in turn encouraging a negotiation of the ethics that this entanglement entails.

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Feeling at one: Socio-affective distribution, vibe, and dance-music consciousness

Cited by 23 publications

References 52 publications

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

The sweet spot between predictability and surprise: musical groove in brain, body, and social interactions

Atmósferas sonoras y experiencias táctiles: Procesos encarnados y estéticas multisensoriales

Timbre and the "Zone of Entanglement" in Electronic Dance Music

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