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Movement as Perception: Bergson, Deleuze, and Hybridity Between Electroacoustic and Intelligent Dance Music

This paper examines hybridity between intelligent dance music and electroacoustic music. It uses the notion of movement explicated in Henri Bergson’s theory of perception, in his work Matter and memory, and its uptake by Gilles Deleuze in his work on cinema. The three levels of perception in Bergson’s account, namely affectivity, pure perception, and action image, are dealt with in some detail. The discovery of places where similar motivations have led to hybridity leads to a discussion of several works by Aphex Twin and Autechre, and connections being made to the works of Trevor Wishart. Extended treatment is given to the piece Gantz Graf by Autechre as a classic example of hybridity.