Something became obvious in participatory cultures playful appropriation is main way of “using” stuff (& faster than before) Music is no different!
PLAY Play is the free space of movement within a more rigid structure. Play exists both because of and also despite the more rigid structures of a system. [ Zimmerman in Wardrip-Fruin & Harrigan, p. 159 ] questions things as they are innovates mediacontent and structures
observation Music = social objects images/sounds,... (like those from YouTube) that are massively produced, shared, distributed or adapted between people, grassroots communities and professional organisations [ Zijlstra 2007 ]
social objects = hybrid things ... they are in-between things in an internet of things negotiating boundaries physical-virtual mainstream-personal fact-fiction http://www.zylstra.org/things/
mediating physical-virtual 'internet of things': web pages are extended with addressable objects or living creatures, like chairs, cars, people or dogs [ Perez, 2005 ] digital information linked to physical objects
Good idea? Personal = made mainstream by technology producers and distributers
mainstream is again made personal ....
Re-mediation appropriation & DRM: negative connotation Remediation [ Bolter & Grusin, 1999 ] The formal logic by which new media refashion prior media forms Repurposing (properties of) older media into a new media form
mediating fact and fiction Visualizing music: sources for iconographies - personal imagery deriving from individual memories [ Andrew Goodwin 1992 ] Stroopfabriek personal stories factory workers >< factory speaking for itself story linked to factory tube = social object
Organisation of Sound If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound. [ John Cage 1958 ] This leads to a Liberation of Sound
do not repeat but play ... research does not repeat what has been done ... but plays what has been done and in that way renews Players create their own order through playing and breaking down the rules. It is not the kind of order that is easy to grasp (...) Arbitrariness is thus very central to play [ Fiske 1987 ]
MULTIPLE voice/vision A project researching ‘remediation’ in and between audiovisual form and musical polyphony playing with parameters
Phase 1: voice is input with ‘Ein Musikalisches Opfer’ (Johann Sebastian Bach) as case Phase 2: vision is input for a new composition by Joachim Brackx
repurposing existing music accumulation (within mainstream paradigm) new media commissioning new music construction (new paradigm) open for re- accumulation Educational/research concept C-md links into open source philosophy