Listening and remembering: networked off-line improvisation for four commuters

This paper analyses the experience of the networked off-line improvisation 'Listening and Remembering', a performance for four commuters using voices and sounds from the Mexico City and Paris metros. It addresses the question: how can an act of collective remembering, inspired by listening to metro soundscapes, lead to the creation of networked voice- and sound-based narratives about the urban commuting experience? The networked experience is seen here from the structural perspective (telematic setting), the sonic underground context, the ethnographic process that led to the performance, the narratives that are created in the electro-acoustic setting, the shared acoustic environments that those creations suggest, and the technical features and participants' responses that prevent or facilitate interaction. Emphasis is placed on the participants' status as non-performers, and on their familiarity with the sonic environment, as a context that allows the participation of non-musicians in the making of music through telematically shared interfaces, using soundscape and real-time voice. Participants re-enact their routine experience through a dialogical relation- ship with the sounds, the other participants, themselves, and the experience of sharing: a collective memory

Cueing and composing for long distance network music collaborations.

Long distance network music collaborations beyond the ensemble performance threshold (EPT) as exposed by Schuett in 2002 [14] where playability is affected beyond a roundtrip network delay of 50ms calls for the development of cueing mechanisms that are methodical and linked to musical parameters. The cueing strategies involved in such musical interactions will depend on the type of repertoire played and the network distance (ND) between the nodes involved in the performance. This paper proposes a semi-standardized cueing framework for real time collaborations over the network with latencies of more than 50ms. The paper also explores a compositional methodology for creating network centric performances, which couldn’t occur outside of a networked situation

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Herding cats: observing live coding in the wild

After a momentous decade of live coding activities, this paper seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live coding research and discusses some examples of how live coding practitioners engage with these points in their system design and performances. In the light of the extremely diverse manifestations of live coding activities, the problem of defining the practice is discussed, and the question raised whether live coding will actually be necessary as an independent category

The Pop-Pickers Have Picked Decentralised Media: the Fall of Top of the Pops and the Rise of the Second Media Age

The BBC has recently announced that Top of the Pops, the long-running weekly popular music programme, will broadcast its final episode in the summer of 2006. This brief \'rapid response\' article considers how the conclusion of Top of the Pops\' 42 year history may be understood as representative or indicative of broader transformation in musical appropriation. As such it considers the fall of Top of the Pops in relation to the rise of what Mark Poster has described as a \'second media age\' (Poster, 1996). This second media age is defined by the emergence of decentralised and multidimensional media structures that usurp the broadcast models of the first media age. This article argues that the decommissioning of Top of the Pops, and the ongoing expansion of \'social networking\' sites such as MySpace and Bebo, illustrates the movement from a first to a second media age. In light of these transformations I suggest here that there is a pressing need to develop new research initiatives and strategies that critically examine these new digitalised forms of musical appropriation.Music, Digital, Digitalisation, Internet, Capitalism, Social Networking, Rhetoric, Second Media Age, Authenticity, Culture

A Rule Set for the Future

This volume, Digital Young, Innovation, and the Unexpected, identifies core issues concerning how young people's use of digital media may lead to various innovations and unexpected outcomes. The essays collected here examine how youth can function as drivers for technological change while simultaneously recognizing that technologies are embedded in larger social systems, including the family, schools, commercial culture, and peer groups. A broad range of topics are taken up, including issues of access and equity; of media panics and cultural anxieties; of citizenship, consumerism, and labor; of policy, privacy, and IP; of new modes of media literacy and learning; and of shifting notions of the public/private divide. The introduction also details six maxims to guide future research and inquiry in the field of digital media and learning. These maxims are "Remember History," "Consider Context," "Make the Future (Hands-on)," "Broaden Participation," "Foster Literacies," and "Learn to Toggle." They form a kind of flexible rule set for investigations into the innovative uses and unexpected outcomes now emerging or soon anticipated from young people's engagements with digital media

Taste and the algorithm

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”

Multi-touch interaction principles for collaborative real-time music activities: towards a pattern language

In this paper we give an analysis of the literature on a set of problems that can arise when undertaking the interaction design of multi-touch applications for collaborative real-time music activities, which are designed for multitouch technologies (e.g. smartphones, tablets, interactive tabletops, among others). Each problem is described, and a candidate design pattern (CDP) is suggested in the form of a short sentence and a diagram—an approach inspired by Christopher Alexander’s A Pattern Language. These solutions relate to the fundamental collaborative principles of democratic relationships, identities and collective interplay. We believe that this approach might disseminate forms of best design practice for collaborative music applications, in order to produce real-time musical systems which are collaborative and expressive