Breaking out: The trip back.
The author discusses how sound was used in early Turbulence Internet works (1996–1998) and musical collaborations distributed between multiple physical performance venues (1998–1999). Focusing on the open composition, the article addresses the challenges of Internet-based musical interaction, includ...
| Publicado en: | Contemporary Music Review Vol. 24; no. 6; pp. 445 - 459 |
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| Autor principal: | |
| Formato: | Artículo |
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Taylor & Francis Ltd
2005
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=19019755&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 19019755 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2005 vid: 24 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 19019755 10.1080/07494460500296128 ppf: 445 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 97KB tig: atl: Breaking out: The trip back. aug: au: Thorington, Helen su: Internet art Digital music Computer art Bandwidths Streaming technology Computer sound processing sug: subj: Internet art Digital music Computer art Bandwidths Streaming technology Computer sound processing keyword: Bandwidth Internet Art Latency Networked Performance Open Work Streaming Media ab: The author discusses how sound was used in early Turbulence Internet works (1996–1998) and musical collaborations distributed between multiple physical performance venues (1998–1999). Focusing on the open composition, the article addresses the challenges of Internet-based musical interaction, including asynchronous time, lag and technical glitches. The latter part of the article focuses on the advent of mobile devices and wireless networks and the migration of computing out of the desktop computer into the physical world, and the resulting changes in musical experience. As composers and non-composers encourage active ‘audience’ participation in the realization of the work, the accepted nature of performance is called into question and a shifting relationship between the artist (composer), artwork (composition) and audience is introduced. 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: 2005 holdings: @attributes: islocal: N |
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