NMSAT CMR.en - Jerome Joy website

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!! 4. RATIONALE AND FUTURE WORK Within the context of the rapid development of visual arts and musical forms, the specialization of networked audio art is of importance. Networked sound and networked music have historically constituted connections between areas of knowledge and development beyond individual artistic works or practice. They represent living interactions and the construction between art and social domains within socio-technical contexts through the ‘experiential’ exploration of networked techniques and technologies, as well as through site-specific (in-situ) and time-specific (in-tempo) experiences of perception using distant action and sound transmission. Networks are unique in the sense that they allow real-time interaction and connections between places and influence our perception of time and space (Renaud & Rebelo, 2006). NMSAT is concerned with networked audio environments perceived as changing, vibrating and organic ‘eco-milieus’ that foster collective creativity and significant modifications of environmental perception (Sterne, 2003; Carlyle, 2007). This dimension further explores propositions mentioned earlier, and identifies within networked socio-technical contexts, the development of cooperative creative systems and participatory dynamics (Tanaka et al., 2005). New dynamics re-model temporalities of individual attention and have the potential to reveal a new sound aesthetics (Joy, 2009){footnote}Joy J. (2009). ''Une Époque Circuitée''. In Université de Montréal (Ed.) Intermédialités - programmer . Montréal; Joy J. & Argüello S. (2005). Lib_ LOGS. Paris : Ed. è®e.{/footnote}. The social implication of these perceptions may stem from a new “delivery of sensory reality” (Valéry, 1960 ^[1928^]){footnote}« At first, no doubt, only the reproduction and transmission of works of art will be affected. It will be possible to send anywhere or to re-create anywhere a system of sensations, or more precisely a system of stimuli, provoked by some object or event in any given place. Works of art will acquire a kind of ubiquity. We shall only have to summon them and there they will be. (…) They will not merely exist in themselves but will exist wherever someone with a certain apparatus happens to be. (…) Just as water, gas and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign. » (Paul Valéry (1928). La Conquête de l’Ubiquité (The Conquest of Ubiquity). In Gallimard, NRF, Bibliothèque de la Pléïade - 1960 (Ed.) ''Oeuvres, tome II, Pièces sur l’Art'' (pp. 1283-1287), first published in ''De La Musique avant toute chose'' (Editions du Tambourinaire), 1928.{/footnote} and from the sharing of knowledge through action. The interlacing of the potentials of musical and sound composition and those of reactive and linked acoustic spaces is a breakthrough towards the realization of instrumental systems and protocols from networks. The very notions of distance and permanence play primordial roles when exploring and building a musical and soniferous condition of electronic networks (the Internet){footnote}While the Internet has generally been perceived as a space for communication and information until now, we stress the point that it can also be a space for creation. For instance, the streaming technique is only possible through the Internet and is one of the only techniques that permit to link spaces (which goes beyond information). As such, when we continuously link remote spaces, which is possible with the Internet through streaming techniques, and when we consider that sound and musical practices are by nature acoustic practices (revealing spaces by stimulating and diffusing sound in the air and exciting only when spaces are available), electronic networks could become networks of linked acoustic spaces (i.e, the musical and soniferous state of the Internet). {/footnote} (Joy, 2009). This perspective needs to be looked at under the prism of current approaches on the progression of the nature of “audiences”, acousmatic diffusions, participatory and cooperation systems, and on the notion of ‘distance listening’. It is also about giving recent history new perspectives through the documentary structure of NMSAT and its interfaces. Locus Sonus’s intention is to explore networked culture, and, on another level, our relations to technologies, socio-technical environments within a controversial debate of representation that has existed since the 1960s. Hyper-mediatization, as highlighted by Bernard Stiegler{footnote}Bernard Stiegler (1994-2006), ''La Technique et le Temps'' (1994-2001), ''De la Misère Symbolique'' (2004-2005), ''Mécréance et Discrédit'' (2004-2006). Paris : Ed. Galilée.{/footnote}, for instance (Stiegler, 1994-2001, 2004-2005, 2004-2006), the multiplication of technical prosthesis and so on reveal slow but progressive shifts in our lives, culture and society. We observe today the fragility of our relationship to technologies. Beyond the simple notion of ‘machinery’ (i.e., a set of communicating machines) and the ‘place’ of the machines, networks need to be explored as an instrumental dimension at the intersection of milieus (physical and virtual), and as compositional, auditive and interpretational systems. Our initiative implies taking part in these current and vibrant debates in that we will actively contribute by proposing new hypotheses. Through the creation of NMSAT, we aim to pose questions and propose (shifting) points of view within a context of broader and better knowledge, debate, exchange and comparison essential to artistic and theoretical practices. {br}{br}
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