NMSAT CMR.en - Jerome Joy website

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!! 1. INTRODUCTION The Networked Music and & SoundArt Timeline (NMSAT) aims to provide an overview of practices and techniques in the realm of networked music and networked sonic performance from ancient history to the present (2008). It proposes a collection of references to theoretical and critical texts offering a valuable resource made available to actors in the artistic and scientific spheres. It is also a platform for the development of studies and analytical projects. NMSAT is structured as a database. Each entry or item contains a short description followed by references (links, authors, bibliographical sources, etc.). The current version of the database consists of these items classified chronologically. In order to cover the nominated area of interest (networked music & audio art) in a comprehensive way, references to significant events in the related and peripheral domains are essential (see below). However we are taking into account the fact that these domains are already well-documented in other historical compilations, available on-line and in corresponding literature (Barbosa, 2003; see also Joy, 2003-2005). NMSAT encompasses various domains and types of events including : Technologies and software; Forward thinking literature; Musicology and ethnomusicology; Sound anthropology and history of telecommunication & radio; Contemporary music and soundart. {br}{br} !!! 1.1. Research Context (Locus Sonus) NMSAT is part of Locus Sonus’s research into audio art (Joy & Sinclair, 2008; Sinclair, 2007){footnote}Joy J. & Sinclair S. (2008). ''Les Espaces Sonores en Réseau (Networked Sonic Spaces)''. In GlobalWare Corporation (Ed.) Roots/Routes, International Computer Music Conference ICMC’08 (Panel : Networking Performance) (pp. 553-555). Belfast : SARC, Sonic Art Research Center, Queen’s University, & International Computer Music Association ICMA (Publishers). Sinclair S. (2007). ''Locus Sonus''. In Double-Entendre (Ed.), Autumn Leaves – Sound and the Environment in Artistic Practice (pp. 74-77). Paris : Angus Carlyle, CRiSAP Creative Research into Sound Arts Practice, London College of Communication, University of the Arts London (Publishers).{/footnote}. Locus Sonus’ current research agenda and artistic production is organized into two main axes — Networked Sonic Spaces and Field Spatialization that combine local and remote spaces{footnote}This term was introduced by the authors; it combines the concept of field recording and of spatialization, generally associated with a fixed system in a closed environment (electro-acoustics).{/footnote}. Part of our mission is to keep up to date on, or indeed to update, the nascent art form that audio art represents, situated as it is at the intersection of what have been considered, at least until recently, as separate art forms (visual arts, music). Locus Sonus’s research revolves around a pool of artistic and technical experimentations, practice-led and verified through public presentation. Many of these projects are based on streaming techniques, exploring the interlacing of space and distance and the modifications that ensue : related to synchronous and asynchronous temporality, spatial qualities (local, remote, geographically situated) and resulting structures (''autophone'' and ''chronotope''{footnote}« [P]oints in the geography of a community where time and space intersect and fuse » according to the anthropologist and linguist, Keith Basso (1984), Stalking with Stories: Names, Places, and Moral Narratives among the Western Apache. In E. Bruner, ed. ''Text, Play and Story''. Proceedings of the American Ethnological Society.{/footnote}). Intrinsically transdisciplinary in nature, artworks evolving within the Locus Sonus research group often refer to other disciplines such as philosophy, sociology, landscape design, computer music, telecommunications, etc., all of which will need to be accessible, in a limited context, via NMSAT. Methodologies employed in the development of NMSAT are based on the needs of audio networked experimentations as well as on the contextualization and analysis of such practices. Resources developed within Locus Sonus are designed to be made available to art education & research establishments in general and to scientific collaborations in the field of study. The NMSAT project stems from previous research on the « Telemusic - organology of netmusic » which began seven years ago (Joy, 2003-2005). The initial goal was to provide an historical and prospective framework for research on networked audio art{footnote}with the help of a systematic on-line review including categorized and generic lists of bookmarks and links to access existing documents : Télémusique - organologie de la musique en réseau (organology of networked music), Jérôme Joy, 2003-2005, retrieved April 13, 2009, from http://audiolib4.free.fr/wikithing/.{/footnote}. However, it has subsequently nourished development of various projects and artistic proposals, which go beyond a purely documentary approach. Additional theoretical research led by Locus Sonus includes a study on the Locustream’s open-microphones (Joy, 2007), a remote sound recording study (Joy, 2007), a study on streams and audio-topy (Salmona, 2007){footnote}Salmona E. (2008). Sujet à Stream. In L’Entretemps, Coll. L’Électron Musagète (Ed.), ''Poétique(s) du Numérique'' (pp. 143-156). Montpellier (F): Apo33, CERCI & AlphabetVille (Publishers).{/footnote}, and a survey on ‘geotagged’ sound projects - soundmaps and soundwalks (Joy, 2007). These, along with practice-based experimentations, have allowed the development of a more pertinent analytical framework, which today constitutes the theoretical structure of NMSAT. {br}{br} !!! 1.2. NMSAT Development Committee It has become apparent that an international, multidisciplinary, and collaborative approach to the development of NMSAT is highly desirable. Indeed, the vast amount of data to be collected or monitored, the diversity of its origins, and the rapidity with which it evolves make this approach a practical necessity. This has led to the creation of the Development Committee of NMSAT, whose role is to: Develop systems to evaluate, verify, validate and amend collected information; Continuously update the database; Minimize the effects of biased perspectives on historical approaches; *Cultivate a diversity of different approaches. To ensure that NMSAT will be continuously updated following the release of its current version (1.0), it will be made available as an open resource for external contributions, editable by peers who share similar or complementary research objectives. In 2010, the objective will be to introduce an on-line database enhanced by multiple contributors and connected to a variety of navigation interfaces (version 2.0){footnote}XML/PHP/mySQL structure.{/footnote}. Given the hybrid nature of the proposed information, the idea is to build multiple and configurable interfaces to access the database. This in turn will offer various possibilities for navigation and editing, and will greatly increase its usefulness amongst researchers, artists, and musicians. {br}{br} !!! 1.3. The current form of the NMSAT The current form of NMSAT (version 1.0), publicly available from 2010, is a compilation of entries from various on-line and bibliographical documents, articles and workshop notes, organized in chronological and alphabetical order. A linear textual format is used to for reasons of simplicity. The panoramic view is divided into two parts. Part One concerns early history and literature up until the 1960s, and Part Two is a list of works and references from 1950 to the present (2008). It is complemented by Part Three, which is an alphabetical list of scientific papers and publications. Data mining methods and hypertextual monitoring are used to research and collect information. Though unambitious in its form, this methodology has proved useful for the creation of a collection of significant references. {br}{br} [../files/articles/nmsat/NMSAT_3vol_p.jpg\|../files/articles/nmsat/NMSAT_3vol_p.jpg] {br}{br}{br}{br}
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