Laptopia: The Spatial Poetics of Networked Laptop Performance.
Networked laptop performances prompt the articulation of new spatial poetics incorporating distributed modes of production, collaboration and reception. This article first tracks production in terms of Internet sampling: the browser-based DJ mixes of em.chia and the dj rabbi collective; direct file...
| Published in: | Contemporary Music Review Vol. 22; no. 4; pp. 11 - 23 |
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| Format: | Article |
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Taylor & Francis Ltd
2003
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=12407252&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 12407252 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2003 vid: 22 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 12407252 10.1080/0749446032000156964 ppf: 11 ppct: 12 formats: fmt: @attributes: type: P size: 1.4MB tig: atl: Laptopia: The Spatial Poetics of Networked Laptop Performance. aug: au: Reddell, Trace su: Electronic musical instruments Computer music Computer networks Laptop computers Electronic music Remixing of sound recordings sug: subj: Electronic musical instruments Computer music Computer networks Laptop computers Electronic music Remixing of sound recordings keyword: collaborative streams distributed remixes improvisational transmission Internet productions networked idealism spatial poetics ab: Networked laptop performances prompt the articulation of new spatial poetics incorporating distributed modes of production, collaboration and reception. This article first tracks production in terms of Internet sampling: the browser-based DJ mixes of em.chia and the dj rabbi collective; direct file download and manipulation in my own work; networked curation projects of Atau Tanaka; and automated web-trawling programs like Freeman and Skeet's <earshot> and Traub's "Bits&Pieces". The article subsequently explores collaborative possibilities in interactive streams and multi-directional remixes, such as Brian Kane's "8-Track"; the cross-Atlantic laptop jam session of monolake (Berlin) and deadbeat (Montreal) at Mutek 2002; and [The User]'s Silophone. These performers fitter the concept of spatial poetics through traditions of broadcast technologies and telephony. Finally, the article raises the political implications of blurred production, performance and distribution boundaries in terms of networked laptops and mobile PA-systems, concentrating on the OpenAir Radiotopia project (Ars Electronica 2002) as a site of liberatory improvisational transmission. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2003 holdings: @attributes: islocal: N |
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