Since the late twentieth century, the development of cybernetics, physical computing and robotics has led artists and researchers to create musical systems that explore the relationship between human bodies and mechanical systems. Anthropomorphic musical robots and bodily integrated ‘cyborg’ sensor interfaces explore complementary manifestations of what we call the ‘anthropomorphic analogy’, which probes the boundary between human artificer and artificial machine, encouraging listeners and viewers to humanise non-musical machines and understand the human body itself as a mechanical instrument.

These new approaches to the anthropomorphic analogy benefit from historical contextualisation. At numerous points in the history of Western art music, philosophers, critics, composers, performers and instrument designers have considered the relationship between human musician and musical instrument, often blurring the line between the two. Consideration of historical examples enriches understandings of anthropomorphism in contemporary music technology.

This article juxtaposes the anthropomorphic analogy in contemporary musical culture with manifestations of anthropomorphism in early seventeenth-century Europe. The first half of the seventeenth century witnessed a flourishing of instrumentality of all sorts. Musical instruments were linked with the telescope, the clock, the barometer, the paintbrush, and many other instruments and machines, and these came to be understood as vehicles for the creation of knowledge. This flourishing of instrumental culture created new opportunities for contemplation and aesthetic wonder, as theorists considered the line between human being and machine – between nature and artifice. Manifestations of the anthropomorphic analogy in seventeenth-century conceptions of musical instruments help to contextualise and explain similar articulations of the anthropomorphic analogy in the present day.

NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands of simultaneous users across a network is synthesised into a single emergent sound and visual structure in an approach we call socio-synthesis. This paper recounts research leading up to NOMADS, outlines its technological architecture, and describes several implementations. Current applications include the telematic opera Auksalaq, and performances by the MICE Orchestra. The authors also consider the potential of large-scale human–computer ensembles as a paradigm for composition and performance.

Neither the unremitting imposition of alien ways nor the faithful preservation of local ones, colonialism proceeds by the melding of imperial practices with indigenous social forms, creating new arrangements that look like old ones. Moreover, colonialism is an intersubjective, interpractical relationship; as a growing number of historical and anthropological studies have shown, the natives are unlikely to be passive receivers of imposed forms. However difficult their circumstances, the colonized busily construe and misconstrue the colonizers and their social practices, manipulating both to their own advantage. What follows is a “working misunderstanding.”

The Buddhist monkhood in each of the Theravāda countries of Southern Asia—Thailand, Burma, and Sri Lanka—is segmented into smaller fraternities (nikāyas). In Sri Lanka these fraternities have proliferated since the early nineteenth century. This proliferation has been interpreted as evidence of a Buddhist reform or return to orthodoxy and portrayed against the background of Sinhalese society as a whole. In this essay I argue that the establishment of twenty-five such nikāyas in the Low Country of Sri Lanka can be better understood both as serving a variety of interests (of which reform is one) and in terms of regional groups of monks and lay people.

Astrology is a neglected cultural form in the study of South Asian society. It is also one which pays attention to the individual in ways that seem to fly in the face of scholarly understandings of Asian societies as places where individuality has little importance. The ideology of caste, the institution most often taken as an analytical entry to South Asian societies, gathers people into groups on the basis of their gross similarities and fixes a person's condition for life. Astrology treats individuals as distinguished by subtle differences and liable to momentary changes. The paper argues that caste ideology and astrology have a common vocabulary and logic, one which is genealogical and combinatory, and suggests in turn several conclusions about the relationship of individuals and society in South Asian cultures.