The use of biometric data to modulate live sound positions the body as a sensor within an affective network (Rosa, 2020). This aligns with recent scholarship on “sociotechnical affective loops” and opens avenues for exploring consent, privacy, and emotional labor in immersive concerts.
Missax Allle Summers (b. 1994) has emerged in the past five years as a singular voice at the intersection of experimental electronic production, Afro‑Diasporic vocal tradition, and hyper‑mediated performance art. This paper offers a multi‑methodological investigation of Summers’ oeuvre, situating her work within contemporary debates on genre fluidity, digital authorship, and the politics of representation in the post‑pandemic music ecosystem. Drawing on close textual analysis of three seminal releases— Neon Pulse (2021), Solaris II (2022), and Quantum Fables (2024)—as well as ethnographic interviews with the artist, collaborators, and a stratified sample of listeners, we argue that Summers re‑configures the conventional artist‑audience contract through a “participatory sonic scaffolding” that foregrounds non‑linear narrative, embodied improvisation, and algorithmic co‑creation. The study concludes by outlining implications for musicology, cultural studies, and digital media scholarship. missax allie summers
Beyond the Beat: An Interdisciplinary Examination of Missax Allie Summers’ Musical Aesthetics, Cultural Impact, and Digital Praxis The use of biometric data to modulate live
– Online questionnaire (N = 452) measuring (i) perceived agency, (ii) emotional resonance, and (iii) sense of co‑creation during live streams. Data analysed with mixed‑effects logistic regression. 1994) has emerged in the past five years