Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices.
It is not unusual nowadays to attend a concert of contemporary music in which live performers and video projection are juxtaposed or truly interact. Internet video-sharing platforms and social media contribute to shape the way these materials are filmed and presented to the audience. My paper focuse...
| Published in: | Contemporary Music Review Vol. 41; no. 4; pp. 382 - 401 |
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| Format: | Article |
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Taylor & Francis Ltd
Aug2022
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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=158597526&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 158597526 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Aug2022 vid: 41 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 158597526 10.1080/07494467.2022.2087389 ppf: 382 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 916KB tig: atl: Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices. aug: au: Besada, José L. su: Music videos Coincidence Do-it-yourself work Participatory culture Motion picture audiences Memetics Social media Flute sug: subj: Music videos Coincidence Do-it-yourself work Participatory culture Motion picture audiences Memetics Social media Flute keyword: Óscar Escudero Brigitta Muntendorf Intertextuality Multimedia Practices Participatory Culture ab: It is not unusual nowadays to attend a concert of contemporary music in which live performers and video projection are juxtaposed or truly interact. Internet video-sharing platforms and social media contribute to shape the way these materials are filmed and presented to the audience. My paper focuses on two composer-performers dealing with these kinds of technologies and audiovisual logics: Brigitta Muntendorf and Óscar Escudero. I pay attention to their respective pieces Public Privacy #1: Flute Cover (2013) and Custom #1 (2016). Beyond the inconsequential coincidence of a hashtag in their titles, some similar aspects of their creative processes are found, from the compositional conception to the interaction with performers for personalising the videos. I particularly consider theoretical elements of memetics for a diachronic observation of several creative choices. Finally, I evaluate the impact of participatory culture in the gestation of these pieces. 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: 2022 holdings: @attributes: islocal: N |
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