Music

Milwaukee.
After the first keynote at AoIR 2009, I'm now in a panel on last.fm that begins with Nancy Baym. She asks what the term 'friend' means in a social networking site; this both in an interpersonal context and in the context of society as a whole, where some suggest that the term 'friend' is losing its meaning through its use on social networking sites. Last.fm was founded in London in 2005, and now has more than 35 million users; it is highly international, and based in the first place on the use of audio scrobbling application which share what its users are listening to.

London.
The penultimate session at Transforming Audiences starts with a paper by Andrea Medrado, whose interest is in 'lamp post radio' in Brazilian favelas: speakers which are attached to lamp posts and broadcast local radio programming. Such radio - a form of community radio - needs to be understood within the wider sonic landscape of the favela environment.

Most work on community radio as such tends to be overly celebratory and usually does not focus much on the audiences for such radio programming; listening is assumed to be an isolated, individual practice, which is clearly at odds with the public nature of lamp post radio. Andrea approached her research through media ethnography; this was complicated by perceptions of Andrea as a higher-class outsider entering the lower-class social environment of the favela, and this had to be carefully negotiated in order to gain the necessary access to the local community.

London.
The next speaker at Transforming Audiences is Richard Mills, whose interest is in the presence of the Beatles on YouTube. The Beatles' image was carefully guided and constructed by their manager Brian Epstein, of course, and the nascent music press of the early to mid-1960 bought strongly into that, creating Beatlemania and connecting it to the wider Swinging Sixties rhetoric. The Beatles themselves eventually reacted against this commercialisation and commodification, and gradually changed their image to embrace countercultural ideas. The evolution of Beatles iconography on their record covers over time also points powerfully to this shift, of course - from the identical suits and haircuts of the first albums to the blankness of The White Album.

Copenhagen.
We move on at COST298 to Stijn Bannier, who focusses on the musical network in the context of Web 2.0 (or 3.0, as the case may be). By 'musical network', Stijn means the network of artists, producers, labels, distributors, and other music industry institutions, which together constitute the industry itself. These are affected by the rise of Web 2.0, not least as it enables users to create, consume, share and remix music; this is potentially exacerbated by further developments towards Web 3.0.

Stijn points as an example to artist self-promotion and self-distribution on MySpace and elsewhere; to musical reproduction, tagging, and metadata sharing (e.g. on last.fm), which may also be analysed quantitatively; to distribution networks built on social networks, peer-to-peer filesharing, and other Web 2.0 media; and to the abundance of content which this creates. This is where Web 3.0 may come in, with its increased emphasis on metadata generation and evaluation.

Hamburg.
The final presenter at next09 is conductor (as in, music) Itay Talgam. He begins by describing the way an orchestra tunes up - everyone doing their own thing; this is noise, not yet music. But when the conductor steps up to the podium, attention is focussed, and music begins. Whose creation is this music? Who is responsible? Who contributed to the success of the performance?

This is a question of ownership, of course - and it applies just as much to collaborative online environments as it does to an orchestra. The conductor of the orchestra provides the leadership, controls the process, and the musicians follow - but in the process, the musicians also lose some of their independence, their ability to introduce their own personality into the performance.

Following up on a previous post on this subject: Tony Walker over at ABC Digital Futures notes the likely impending demise of one of the most innovative Webcasting projects of recent years: Pandora, the online radio station of the Music Genome Project. For the uninitiated: the MGP is a database of the specific traits of thousands of songs by a wide variety of artists, which enables it to suggest to users that if they like a specific song, they're also likely to enjoy a variety of songs from other albums and by other artists. On that basis, Pandora offers personalised Webcasting of tracks which the MGP identifies as similar to those tracks that a user has already said they like.

Yay - Sonic Synergies: Music, Identity, Technology and Community, a book collecting the best papers from the eponymous 2003 conference in Adelaide, is finally out (if apparently only in hardcover, for almost US$100)...

My chapter in the book deals at its core with the 2002 Webcasting wars in the United States - a protracted and complex conflict between the recording industry and various groupings of large, medium, and small Webcasters each pursuing their own agendas, which was not so much resolved as put on hold by the eventual intervention of a few members of Congress concerned about the deleterious effects of the 1998 Digital Millennium Copyright Act (DMCA). The DMCA had put in place new approaches for digital royalty arbitration which posed serious problems for the long-term viability of small Webcasters (a fact which was bemoaned only rather fulsomely by the leaders of that market), and the ensuing negotiations finally hit the wall in 2002, after much toing and froing.

Washington, D.C.
I got back a little late from today's lunch, and missed most of the first couple of papers in the next session here at Creativity & Cognition 2007. The paper by Kirsty Beilharz and Sam Ferguson is already in progress; they enhanced a Japanese flute, the shakahachi, with a variety of extra-instrumental sensors which drive a generative music system, creating a hyper-instrument, or a creative environment for the instrument. The environment senses the player's physical gestures while plying the instrument; some such gestures already exist as part of the normal process of playing the shakahachi, and the environment therefore enhances and builds on the often unconscious movements of the player, enabling them to exploit techniques they already have. Additionally, qualities of the instrument tone itself (breathiness, noisiness, and other qualities) are also monitored and harnessed.

Boston.
OK. 11.5 days of writing (I started on 23 May), for 14 hours straight on some days - all up I've been writing for about 143 hours so far, Word tells me (that's 12.5 hours per day, on average). 363 pages. 156,000 words. That's 1090 words per hour, but includes quotes, of course. 12 chapters written so far, and four more to go. If I haven't blogged for a while, it's because I've used up my allocation of words for the day.

So, writing the produsage book is going OK, but it will need some editing - the final book is supposed to be only 300 pages, or 135,000 words. (Hey, I could stop right now...) Just as well, though, because it's not quite right in a few places yet, and I'm throwing in altogether too many quotes at times. That's always been an issue for me - lots of research, lots of interesting quotes from the research, and I'd love to use them all, but I can't let them overwhelm what I'm actually trying to say. So, I'm learning to throw out more than I'm using. Slowly.

Boston.
Other than during the MiT5 conference, I realise I haven't really blogged that much from Boston yet - I think I'm still getting over the jetlag from the flight here... It's certainly not as if there wasn't plenty to talk about. This is my third time in Boston, although the last couple of times I was here only for a few days and a few hours, respectively - but at least, I already have something of a general idea where things are and how I get there. It will still take me a while to find my way around MIT, though - if QUT's campuses occasionally seem maze-like, they've got nothing on MIT's sprawling expanse, even if some of the architecture here hadn't been built deliberately in flagrant disregard for architectural orthodoxy.