The Musical Network 2.0 & 3.0

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Research paper presented at COST298 Conference, 13th of May 2009, Copenhagen

Research paper presented at COST298 Conference, 13th of May 2009, Copenhagen

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  • 1. The Musical Network 2.0 & 3.0 Stijn Bannier IBBT-SMIT, VUB COST 298 – The User and the Future of Information and Communication Technology 13-15 May 2009, Copenhagen.
  • 2. Research questions and methodology
    • The musical network 2.0 & 3.0
    • Which changes were brought to the musical network by Web 2.0?
    • Which changes can we expect from Web 3.0?
    • Which role has the user of the Internet and the consumer of music in these changes?
    • Theoretical reflection and literature review (ANT)
  • 3. Presentation overview
    • The Musical Network
    • Web 2.0 & 3.0
    • The Musical Network 2.0
    • The Musical Network 3.0
    • Challenges for the future
  • 4. The Musical Network Andrew Leyshon, “Time – space (and digital) compression: software formats, musical networks, and the reorganisation of the music industry” in Environment and Planning A , (33) 2001, 61.
  • 5. Web 2.0 & 3.0
    • Web 2.0
    • Web sites and services based on participation, collaboration and sharing between users
    • Users are able to create, consume and remix data from multiple sources
    • Web 3.0
    • A hybrid, semantic and intelligent web made possible by the convergence of several new technologies
    • These technologies create personalised data and make content more usable and accessible for users
  • 6. The Musical Network 2.0
    • Creativity: New media and technologies facilitate amateurs/consumers to produce (professional) content > produser or prosumer (pro-am)
  • 7. The Musical Network 2.0
    • The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption.
  • 8. The Musical Network 2.0
    • Creativity: New media and technologies facilitate amateurs/consumers to produce (professional) content > produser or prosumer (pro-am)
    • Reproduction: MP3 > social tagging and cluster analysis
  • 9. The Musical Network 2.0
    • The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption.
  • 10. The Musical Network 2.0
    • Creativity: New media and technologies facilitate amateurs/consumers to produce (professional) content > produser or prosumer (pro-am)
    • Reproduction: MP3 > social tagging and cluster analysis
    • Distribution: Social networks, P2P-networks, online 2.0 media (e-zines, blogs)
    • Consumption: The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption > abundance of content?
  • 11. The Musical Network 3.0
    • Creativity: Hybrid services for online collaboration, jamming or interaction with fans
  • 12. The Musical Network 2.0
    • The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption.
  • 13. The Musical Network 2.0
    • The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption.
  • 14. The Musical Network 3.0
    • Creativity: Hybrid services for online collaboration, jamming or interaction with fans
    • Reproduction: Machine generated metadata
  • 15. The Musical Network 2.0
    • The prosumer (or produser) influences the networks of creativity, reproduction, distribution and consumption.
  • 16. The Musical Network 3.0
    • Creativity: Hybrid services for online collaboration, jamming or interaction with fans
    • Reproduction: Machine generated metadata
    • Distribution: Hybrid ‘internet-of-things’ > integration of physical products and online services
    • Consumption: The user has the advantage of personalised recommendations based on 2.0 data and 3.0 services and metadata
  • 17. Challenges for the future
    • To what extent is it a matter of ‘user’ generated content in the case of Web 3.0?
    • Will user or machine generated services manage the abundance of content?
    • How will the music industry (finally) react to the Web 2.0 and 3.0 developments?
    • To what extent will other creative industries (books, art, movies) interpretate the music industry’s (lack of) agency?
  • 18. Q & A Thanks! s [email_address]