Distributed Performance: Principles, Space, Communication
Article Sidebar
Main Article Content
Abstract
creativity with the use of the computer internet is devoted to a
considerable degree to the technical and social aspects of internet
music, whereas the scale of communicative means connected with
this phenomenon are frequently not given its due attention, for the
reason that the domain of the internet is usually regarded as a
“mediator.” The article offers a viewpoint on this existent problem
that is in many ways contrary to the prevalent one; it brings out
to the forefront three interconnected spheres: interactivity, virtual
space and performance communication. Examination of these
spheres, both as separate elements and in combination, made it
possible to formulate the conception of distributed performance,
describing the entire specter of “distanced” artistic projects in the
art of music. the present approach is perceived as a particularly
relevant one, since the two indispensable constituent parts of
interactive music – virtual musical space and performance
communication – have not received their due coverage in
musicological works up to now. In the present work musical space
is examined from the position of virtualistics, which makes it
possible to characterize all the features of virtual reality present in
it. The communicational principles are analyzed from the points
of view of the work of art, the process of performance and the
peculiarities of distanced interaction.
Keywords: interactive music, distributed performance,
internet musical performance, virtual space, musical communication
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Krasnoskulov A. V. V poiskakh “Yuzhnogo materika”, ili Ekspeditsiya cherez virtual’nyy okean [In Search of “Terra Australis” or The Expedition through the Virtual Ocean]. Khudozhestvennaya kul’tura: Elektronnyy zhurnal [Artistic Culture: Electronic Journal]. 2012, No. 5. URL: http://sias.ru/ magazine/vypusk-5-2012/yazyki/774.html.
3. Krasnoskulov A. V. Internet kak sredstvo muzykal’noy vyrazitel’nosti [The Internet as a Means for Musical Expressivity]. Problemy muzykal’noy nauki [Music Scholarship]. 2012, No. 2 (11), pp. 62–66.
4. Nosov N. Manifest virtualistiki [Manifest of Virtualistics]. URL: http://www.virtualistika.ru/vip_15.html.
5. Chew E., Zimmermann R., Sawchuk A., Kyriakakis C., Papadopoulos C., François, A. R. J., Kim G., Rizzo, A., and Volk A. Musical Interaction at a Distance: Distributed Immersive Performance. URL: http://www.staff.science.uu.nl/~fleis102/ MusicNetwork-IMSC.pdf.
6. Lazzaro J., and Wawrzynek J. A Case for Network Musical Performance. The 11th International Workshop on Network and Operating Systems Support for Digital Audio and Video (NOSSDAV 2001). June 25–26, 2001, Port Jefferson, New York.
7. Mitra A., and Schwartz R. L. From Cyber Space to Cybernetic Space: Rethinking the Relationship between Real and Virtual Spaces. Journal of Computer-Mediated Communication. (2001) 7: 0. DOI: 10.1111/j.1083-6101.2001.tb00134.x.
8. Weinberg G. Interconnected musical networks: toward a theoretical framework. Computer Music Journal. 2005. 29 (2), рр. 23–39.
9. Zimmermann R., Chew E., Ay S. A., and Pawar M. Distributed musical performances: Architecture and stream management. ACM Trans. Multimedia Comput. Commun. May, 2008. Appl. 4, 2, Article 14. 23 pages. DOI = 10.1145/ 1352012.1352018 http://doi.acm.org/ 10.1145/1352012.1352018.