Hiya,
Here is the initial draft of the blurb for the April music cybersalon. I've
pasted it in below. Any comments or suggestions please? Also could you
please suggest other people who might be interested in participating in this
event?
All the best.
Later,
Richard
richard barbrook [[log in to unmask]]
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NET.MUSIC CYBERSALON & SYMPOSIUM
Tuesday 10th April 2001
The ICA,
The Mall,
London SW1
Sponsored by the ESRC Immateriality Seminar Series
Schedule
1.00pm-2.00pm Registration (food and drinks are available at the ICA).
2.00pm-3.30pm Symposium session 1: the new aesthetics of interactive
music.
3.30pm-4.00pm Break (food and drinks are available at the ICA).
4.00pm-5.30pm Symposium session 2: the new political economy of
interactive music.
7.00pm-8.30pm Cybersalon discussion: interactive music as prophecy of the
future.
8.30pm onwards Party and exhibitions.
Participants
We have so far had expressions of interest from:
Richard Barbrook (HRC, Westminster)
Christopher May (UWE)
Ray Holiday (Wildlife Records)
David Laing (Westminster)
Matt Black (Coldcut, Ninja Tunes)
Andy Cameron (HRC, Westminster, Romandson)
Paul Taylor (Salford)
Tim Jordan (OU)
Kwela Hermanns (Westminster)
Warwick Metcalfe (Ericsson)
Lewis Sykes (CID, Cybersalon)
Outline of Event
In his seminal text 'Noise', Jacques Attali celebrates the prophetic power
of music. What is pioneered first within music-making is later adopted as
the political economy for the whole of society. For instance, the constant
turnover of hit records in the 1920s prefigured the mass consumerism of
late-twentieth century Fordism. According to Attali, each epoch of
music-making creates its own specific social, technological and aesthetic
forms. For instance, twentieth century music developed some apparently
unbreakable paradigms: stars, fans, record companies, copyright laws, pieces
of plastic, top 40 singles and experimental albums. Yet, at the beginning of
a new century, these fixed Fordist forms are being superseded. What began
with a few skilled DJs mixing vinyl now involves almost everybody with
access to a computer and the Net. This new situation won't just create new
social, technological and aesthetic paradigms for music-making. As in the
past, music is pioneering a new political economy for the whole of society.
Napsterisation is a prophecy of the peer-to-peer future.
This cybersalon and symposium will examine the impact of this transformation
within music-making - and its consequences for the rest of society. Since
copyright laws and technological fixes can only slow down this process, the
event will concentrate on analysing the emerging social, technological and
aesthetic paradigms. Musicians, fans, academics and policy-makers will be
invited to give their views about the new situation. The event will begin
with a two-session symposium in the afternoon. Each session will be
structured around a series of short interventions followed by periods of
discussion. In the evening cybersalon, the chairs of each session will
summarise these findings and talk about the wider social consequences of the
new forms of music-making.
The first session will look at the new aesthetics of interactive music. This
could include DJ culture, mixing, sampling, digital recording, Napster, MP3,
music toys, on-line jamming and the latest technological developments. This
session will discuss how far new methods of production and distribution are
creating new aesthetics. What will be the sounds of the age of composition
predicted by Attali?
The second session will examine what happens once the existing legal and
economic structures of music industry are no longer viable. The spread of
new music technologies reflects the emergence of new methods of making
music. However, when peer-to-peer computing becomes ubiquitous, how do
musicians get paid for their work? How do people receive acknowledgement for
their ideas? Can the copyright laws be updated for the new situation? Can
music exist as both commodity and gift?
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