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Data Culture Generation : After Content, Process as Aesthetic

Riddell, Alistair

Description

This paper considers the extent to which the concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast music into data (a tangible entity, commodity or product), thus into a kind of cultural object itself in certain contexts (LPs, CDs, MP3 files). This condition, under an impetus fostered by the abundance and social dimension of music, suggests that a...[Show more]

dc.contributor.authorRiddell, Alistair
dc.contributor.editorMalina, Roger F
dc.date.accessioned2004-05-13
dc.date.accessioned2004-09-28T04:47:11Z
dc.date.accessioned2011-01-05T08:29:58Z
dc.date.available2004-09-28T04:47:11Z
dc.date.available2011-01-05T08:29:58Z
dc.date.created2001
dc.identifier.urihttp://hdl.handle.net/1885/41955
dc.identifier.urihttp://digitalcollections.anu.edu.au/handle/1885/41955
dc.description.abstractThis paper considers the extent to which the concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast music into data (a tangible entity, commodity or product), thus into a kind of cultural object itself in certain contexts (LPs, CDs, MP3 files). This condition, under an impetus fostered by the abundance and social dimension of music, suggests that a rethinking/transformation of contemporary audio arts based on process (the concept, design or actual systems that produce musical data) is taking place. Increasingly, musicians are becoming involved in alternative contexts in which sound is only one of several simultaneous and expressive components constituting a cultural experience. Here process permeates the proceedings as a kind of a priori theory of contemporary art because it can suggest and define a set of possibilities as an artistic statement, irrespective of whether something or anything is manifest by any artist. With the environment saturated with music, it appears that the creative design of musical processes might become an art in itself.
dc.format.extent78417 bytes
dc.format.extent349 bytes
dc.format.extent356 bytes
dc.format.mimetypeapplication/pdf
dc.format.mimetypeapplication/octet-stream
dc.format.mimetypeapplication/octet-stream
dc.language.isoen_AU
dc.publisherThe MIT Press
dc.subjectMusical Data
dc.subjectProcess Composition.
dc.titleData Culture Generation : After Content, Process as Aesthetic
dc.typeJournal article
local.description.notesThis article is a revised version of a conference paper from "First Iteration", a conference on generative systems in the electronic arts. Held at Monash University Dec 1 - 3 1999. It is published in the proceedings.
local.description.refereedyes
local.identifier.citationnumber4
local.identifier.citationpages337-343
local.identifier.citationpublicationLeonardo
local.identifier.citationvolume34
local.identifier.citationyear2001
local.identifier.eprintid2575
local.rights.ispublishedyes
dc.date.issued2001
CollectionsANU Research Publications

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