Abstract

The paper uses the case of imaginary and virtual musicians to explore the interrelations between sound, music, body, face – or the absence of these elements – and narrative in a semiotic perspective. It proposes a typology of non-existing musicians, delves deeply into the case of the Japanese Vocaloid/teen idol Hatsune Miku, and speculates on a machinic art – including music – that may transcend human comprehension, created for and by machines. «Post-computational amazement» refers to the dissolution of the relationship between creator, performer and audience, envisioning a scenario in which machines are not employed for vicarious work, whether prosaic or aesthetic.