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Hi xchangers

I am working on my PHD about making music on the net, and one part is a
series of interviews with *experts* - that is people using the net to
_produce_ music which contains structural reflections of the medium.
(one could say)

I included video clips of an earlier, smaller series of interviews in the
text *soft music* at  http://crossfade.walkerart.org/   This series now I am
doing in text format, via email. The results will be stated and analysed in
my thesis, and possibly parts will be printed in seperate book, a collection
of interviews with people from that field.

The appended questions are meant to fit all kinds of networking musical
activists, so that not each and every question will fit perfectly on the
activities surrounding xchange - especially since I am not so much concerned
with streaming, but explicitly with concepts for generating and modifying
music by means of networked structures. However, filesharing and looped
streams (like for instance XLR or the pool in pd.klingt.org) happening
around xchange do fall in my field of research.

I would like to ask everybody who is involved in a project of the mentioned
kind to answer my questions. Again, not all of the questions fit on
everyone, so I am also greatful for people answering only a few questions -
or asking questions back!


Big Thanks!
Golo


***********************


1.  To begin with: How do you describe yourself?
     (concerning your audio activities)


2.  Tell me about your network projects (very briefly). How do they involve
the network and which consequences does this have for the resulting music?


3.  What kind of »product« do you ultimately aim at? Can we hear net audio
projects like yours as music like we have known it, or is it fundamentally
different?


4.  One could argue that since the net is a time-based medium it would be
especially suitable for musical application. Do you think that the net has a
specific and strong musical potential?


5.  Does the net with all its drawbacks and with all its new options imply
special guidelines of what you can musically do with it and what you can not
do? Which would that be?


6.  Which technical tools or options of musical communication via the net do
you miss?




(The next part asks for more detailed analytical aspects of networked
music-making: concerning the listener, the musician, and the arts in
general.)


7.  The listener of net audio is usually interacting with the production
process of the music in one or the other way, and this is just logical,
because active involvement is the most characteristic feature of the
Internet. Does this mean that interactive audio works shift musical
responsibility from the musician to the listener? Is the interacting
listener a creater of music?


8.  How interesting can music be that is being brought about by musically
untrained people? Isn´t that getting close to automatic Farfisa-organs? Or
is it not so much the sounding music that is interesting about net music? Or
are there totally new forms of music listening or a new type of listener
evolving?


9.  Do you see, on the other side, new forms of music making or new types of
musicians developing? Is a player using a network setup working very
differently from somebody using an electronic tool or a sequencer?


10.  Musicians working in networked environments tend to abandon the idea of
the fixed musical work. Many projects build on performance systems that keep
music always in a flexible state. Does this imply an abandonnement of
individual expression?


11.  Installation art, performance art, audio art etc. ? These art forms all
have to do with dissolving the borders between the arts. With the computer
and now with the availability of every kind of software tool via the net,
the borders bewteen the art forms are still more vanishing. Does this lead
to totally new combinations or merges of the old art forms?


12.  Experimental arts also worked on dissolving the borders between
high-brow and low-brow culture. A lot of musical setups and tools are using
a kind of avantgarde approach in a public sphere, offering it not only to a
small group of insiders, but to everyone. Does net music bring popular and
experimental music closer together?


13. What´s interesting about networked music? What´s your musical utopia for
the net?


Thanks for your answers!


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