2003
DOI: 10.1162/096112104322750791
|View full text |Cite
|
Sign up to set email alerts
|

Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation

Abstract: The introduction of various collaborative tools, made possible by the expansion of computer network systems and communications technology, has led to new methods of musical composition and improvisation. The author describes a number of recent music and sound art projects involving the use of network systems that enable geographically displaced creators to collaboratively generate shared soundscapes. Various system designs, ideas and concepts associated with this interaction paradigm are presented and classifi… Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1
1
1
1

Citation Types

0
67
0
3

Year Published

2014
2014
2024
2024

Publication Types

Select...
4
3
1

Relationship

0
8

Authors

Journals

citations
Cited by 106 publications
(73 citation statements)
references
References 14 publications
0
67
0
3
Order By: Relevance
“…Audiovisual feedback, and in particular, the use of the auditory channel sound in TUIs, seems to strengthen not only co-located synchronous, but also co-located asynchronous musical collaboration, because visitors can hear others' work and modify it later in time. This fills a gap in Barbosa (2003)'s classification of computer-supported collaborative music, based on user's location and performance synchronicity. We here expand the term local inter-connected musical networks, classified by Barbosa from just synchronous co-located collaboration in networked systems, to include also asynchronous co-located collaboration, within the context of CSCW for music: a collaborative musical installation, in this case a particular configuration of tangible objects on the Reactable, can be modified over time, not only synchronously (generally within groups), but also asynchronously (generally between groups).…”
Section: Liminal States For Synchronous Andmentioning
confidence: 91%
See 2 more Smart Citations
“…Audiovisual feedback, and in particular, the use of the auditory channel sound in TUIs, seems to strengthen not only co-located synchronous, but also co-located asynchronous musical collaboration, because visitors can hear others' work and modify it later in time. This fills a gap in Barbosa (2003)'s classification of computer-supported collaborative music, based on user's location and performance synchronicity. We here expand the term local inter-connected musical networks, classified by Barbosa from just synchronous co-located collaboration in networked systems, to include also asynchronous co-located collaboration, within the context of CSCW for music: a collaborative musical installation, in this case a particular configuration of tangible objects on the Reactable, can be modified over time, not only synchronously (generally within groups), but also asynchronously (generally between groups).…”
Section: Liminal States For Synchronous Andmentioning
confidence: 91%
“…Figure 5 illustrates the three strategies of liminality and cross-group musical interaction from a musical patch perspective. The continuist-continuist approach between groups, including both synchronous and asynchronous interaction, aligns with co-located collaboration in collaborative music systems (Barbosa, 2003), and represents an instance of collaboration. Co-located collaboration refers to a mode in which musicians are located in the same physical space (e.g.…”
Section: Co-located Synchronous Cross-group Interactionmentioning
confidence: 99%
See 1 more Smart Citation
“…Barbosa et al [3] provide a survey of networked computer music. They demonstrate that networked computer music is not a new idea and has been discussed since the 1970s.…”
Section: Previous Workmentioning
confidence: 99%
“…There is a body of academic work on early, networked music collaboration (Barbosa 2003;Duckworth 2005;Hugill 2005), as well as developments in the area of synchronous networked music performances (Alexandraki and Valsamakis 2009;Whalley and Fields 2012;Whalley 2016). RMCS-based music production, while utilizing networked musical environments, is primarily concerned with the music recording and production process.…”
mentioning
confidence: 99%