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The Feeling Blend: Feeling and emotion in electroacoustic art

Published online by Cambridge University Press:  30 June 2014

Gary S. Kendall
Gary S. Kendall*
Affiliation:
Artillerigatan 40, Stockholm, Sweden
*
E-mail: [email protected]
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Abstract

Starting from the assumption that meaning in electroacoustic music is an outcome of the listener's mental processes, it is the goal of this essay to explicate the mental processes whereby feeling and emotion contribute to meaning when listening to electroacoustic music. This essay begins with a broad consideration of feeling and emotion with an eye toward artistic experience, spanning from basic emotions to nuanced phenomenal qualities. It then introduces the concept of mental layers in support of the multi-levelled nature of meaning, especially in this case, meaning that is felt as well as comprehended. These two preliminary topics precede the introduction of the feeling blend, an extension of blend theory as presented by Fauconnier and Turner (2002). Core issues for blend theory, such as what constitutes a mental space and what triggers a blend, are reconsidered in the light of practical examples from the literature of electroacoustic music. In conclusion, the feeling blend is proposed as an essential concept to understanding artistic experience and an intrinsic aspect of being human.

Type
Articles
Information
Organised Sound , Volume 19 , Special Issue 2: The Sound of Cultures , August 2014 , pp. 192 - 202
Copyright
Copyright © Cambridge University Press 2014 

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