CMR: Development of East Asia Electroacoustic Music
The historical development of the now globalised practice of electroacoustic music has seen many different chapters and trajectories. Nowhere more than in East Asia has it been disjointed.
The historical development of the now globalised practice of electroacoustic music has seen many different chapters and trajectories. Nowhere more than in East Asia has it been disjointed.
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While the telegraph was mainly limited to transmitting Morse code and printed messages, the invention of the telephone made distant audio communication possible. And although the telephone was mostly used for private conversations, there was also experimentation with providing home entertainment. In 1893 a particularly sophisticated system, the Telefon Hirmondó, began operation in Budapest, Hungary -- one of its off-shoots, the United States Telephone Herald Company and its affiliates, did not meet with the same financial success.
This timeline aims to provide an overview of the major artistic events and projects seen in the fields of music and sound performance network since the beginning of the twentieth century. To this end it covers several areas and types of events.
Gallery 9 is a site for project-driven exploration, through digitally-based media, of all things "cyber." This includes artist commissions, interface experiments, exhibitions, community discussion, a study collection, hyperessays, filtered links, lectures and other guerilla raids into real space, and collaborations with other entities (both internal and external).
Light is the condition of all vision, and the visual media are our most important explorations of this condition. The history of visual technologies reveals a centuries-long project aimed at controlling light. In this book, Sean Cubitt traces a genealogy of the dominant visual media of the twenty-first century—digital video, film, and photography—through a history of materials and practices that begins with the inventions of intaglio printing and oil painting. Attending to the specificities of inks and pigments, cathode ray tubes, color film, lenses, screens, and chips, Cubitt argues that we have moved from a hierarchical visual culture focused on semantic values to a more democratic but value-free numerical commodity.
Martha Lane Fox explores how musicians use the internet to create and distribute their work as network speeds increase.
At the end of the 1960's there was a great demand in various US universities and research centres for a network that should permit nationwide utilization of existing computer resources. In addition to that there was the desire for data exchange. On the other hand there was the interest in practical experiences, design, implementation, the use of network techniques in general and packet-switching in particular.
SITES PARTICIPATING IN THE NETWORKED PERFORMANCE OF ALVIN LUCIER'S QUASIMODO THE GREAT LOVER
The International Institute of Communications (IIC) has long been interested in the flow of electronic information, messages, images, data between countries. An understanding of these linkages is crucial for both business and government. The pattern of transborder communications also has major social and cultural implications.
In our society one can invent and perfect discoveries that still have to conquer their market and justify their existence; in other words discoveries that have not been called for. Thus there was a moment when technology was advanced enough to produce the radio and society was not yet advanced enough to accept it.
Exploring artist's use of the global communications network
The following description concentrates less on media-oriented or technical conceptions of interactivity than on those projects conducted from the 1960s onward that highlighted the idea of social, gregarious interaction.
CROSSFADE focuses on sound as artistic medium. The purpose of this ongoing project is to contextualize and facilitate access to a diversity of sonic and musical directions, which utilize network technology as an integral part of their production.
"When I started uploading the collection, in 2009, I was an undergraduate student of a composition class at the university's studio for electroacoustic music. Our professor made this collection, I believe, from his particular library, picking up some works that he found important." Caio Barros
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