Interfacing the Network: An Embedded Approach to Network Instrument Creation

This paper discusses the design, construction, and development of a multi-site collaborative instrument, The Loop, developed by the JacksOn4 collective during 2009-10 and formally presented in Oslo at the arts.on.wires and NIME conferences in 2011. The development of this instrument is primarily a reaction to historical network performance that either attempts to present traditional acoustic practice in a distributed format or utilises the network as a conduit to shuttle acoustic and performance data amongst participant nodes. In both scenarios the network is an integral and indispensible part of the performance, however, the network is not perceived as an instrument, per se. The Loop is an attempt to create a single, distributed hybrid instrument retaining traditionally acoustic interfaces and resonant bodies that are mediated by the network. The embedding of the network into the body of the instrument raises many practical and theoretical discussions, which are explored in this paper through a reflection upon the notion of the distributed instrument and the way in which its design impacts the behaviour of the participants (performers and audiences); the mediation of musical expression across networks; the bi-directional relationship between instrument and design; as well as how the instrument assists in the realisation of the creators’ compositional and artistic goals

Spectacular narratives: Twister, independence day, and frontier mythology

Big-screen spectacle has become increasingly important to Hollywood in recent decades. It formed a central part of a post-war strategy aimed at tempting lost audiences back to the cinema in the face of demographic changes and the development of television and other domestic leisure activities. More recently, in an age in which the big Hollywood studios have become parts of giant conglomerates, the prevalence of spectacle and special effects has been boosted by a demand to engineer products that can be further exploited in multimedia forms such as computer games and theme-park rides, secondary outlets that can sometimes generate more profits than the films on which they are based. These and other developments have led some commentators to announce, or predict, the imminent demise of narrative as a central component of Hollywood cinema. But the case has been considerably overstated. Narrative is far from being eclipsed, even in the most spectacular and effects-oriented of today’s blockbuster attractions. These films still tend to tell reasonably coherent stories, even if they may sometimes be looser and less well integrated than classical models. More important for my argument, contemporary spectaculars also continue to manifest the kinds of underlying thematic oppositions and reconciliations associated with a broadly ‘structuralist’ analysis of narrative. This very important dimension of narrative has been largely ignored by those who identify, celebrate or more often bemoan a weakening of plot or character development in many spectacular features

The development of an inclusive model to construct teacher’s professional knowledge: pedagogic content knowledge for sound-based music as a new subject area

The file attached to this record is the author's final peer reviewed version.This paper outlines a systematic process for developing the different knowledge domains required for teaching sound-based (electroacoustic) music as a new subject area. As a new area within the discipline of music, teachers are novices to the field. This requires epistemological deconstruction of what knowledge teachers need in this new field. Then the analysis outlines how to develop teachers’ new knowledge; which can be constructed as: subject content knowledge (SCK), pedagogic content knowledge (PCK) and technology pedagogic content knowledge (TPACK). This epistemological analysis informed our creation of teaching materials that develop these different knowledge domains and take account of the complex interplay between them. This process was demonstrated through the ElectroAcoustic Resource Site Projects to: build first subject content knowledge; then create teacher’s packs to build pedagogic content knowledge; and a bespoke CPD programme to embed their inter-relationships and build technology pedagogic content knowledge. Most importantly, creating the teacher’s packs employed a user-centred design approach, putting teachers and pupils in the centre of the development process, thereby giving them voice. Voice is an integral part of empowerment in our model, which is conceptualised as practicing ‘communicative action’ (Habermas 1984) and disrupts the hegemonic grip of the academic curriculum dominated by the tradition music canon. This paper adds to the knowledge-base regarding how to develop the different domains required for teaching a new subject. We argue that sound-based music is accessible to all teachers and learners, thereby increasing inclusivity. This in turn can radically disrupt ways of teaching music in schools and the model created provides the necessary scaffolding for a paradigm shift in music teaching on an international level

Projecting the voice : audience responses to ICT-mediated contemporary opera

This paper examines how audiences experience live opera performance and the behaviours they exhibit during live-streaming of the performance. It aims to contribute to our understanding of how audiences, who increasingly inhabit an environment saturated with digital media, respond to contemporary opera performance. Based on a comparative study of audience experiences and behaviours during a live opera performance and the streamed opera screening, we investigate whether digital mediation affects audience appreciation, and whether streaming live opera means the same thing to an audience as the unmediated performance. We firstly outline the conception, design and performance of a contemporary opera and its simultaneous streaming to nearby digital screens. Then, we report the evaluation of the project as measured by a mix of qualitative and quantitative methods during the rehearsals, the live performance and the screening. As one of the few social studies of contemporary classical music in Britain, our study of opera audience behaviours sheds light on the challenges and opportunities afforded by digital technologies for opera companies. Understanding how audiences appreciate digital operas offers practical advice on how theatres and opera companies could respond to new forms of digital activities