x For y Hours - Music's Ontological Status After the Internet

随着我们的注意力越来越分散，音乐变得支离破碎和短暂的观看，一些无处不在的东西，形成了日常、在线和物理空间的背景噪音。互联网的使用越来越多，软件变得更容易获得，导致音乐的持续时间、呈现和体验都在调整，以适应传播音乐的在线平台的格式。这导致音乐的材料载体(CD、MP3)被移除，这意味着与材料相关的持续时间和形式变得短暂和本体论上不确定，因此它的固定媒介已经转向基于云的存储，现在是不固定的。现在出现了一种“不听”的做法，即多种媒体(社交媒体、视频等)就像Eldritch Priest所说的那样，音乐是同时被体验的(Priest，2013)。我的项目试图导航音乐的本体论地位在互联网时代如何受到根本性的挑战和转变。实践输出旨在将音乐概念化为一种无形的、非阶段化的艺术形式，在一段固定的时间内没有完全体验到。项目副标题x为y小时，其中x(材料)用于中介y(不确定的时间)，将作为一个主要的概念标题，用于生成探索广泛媒介的音乐作品，例如‘音乐会装置’、特定地点的表演装置和一个持续产生音乐的网站。我建议用x代表y小时来说明音乐现在是如何在互联网上存在的，这与肯尼斯·戈德史密斯对挪用的定义一致，即在数字时代重新调整用途。这个项目是在质疑“新”的背景下进行的，在过去的十年里，“新”在新的和实验的音乐话语中占据了突出的位置。自2000年初以来，诞生于互联网上的S音乐颠覆了关于未来是进步和新的观念，关于没有固有的“新”声音的说法已经变得司空见惯。通过艺术界关于摧毁‘旧’和删除过去的主张的谱系，再加上被描述为未来的末日(Berardi，2011，Fischer，2014)，专有的重新出现，曾经是属于现代主义传统的先锋企业，形成了概念音乐和电子音乐微体裁等不同流派的关键组成部分和美学。巨爪音乐的超现实主义和丹尼尔·洛帕丁的早期蒸汽波显微取样就是这种数字挪用的例证，这当然呼应了概念艺术家道格拉斯·休布勒的话：“世界上充满了或多或少有趣的物体；我不想再增加了”(休布勒，1969)，同时也为“新概念主义”在实验音乐实践中的出现铺平了道路(即约翰尼斯·克里德勒)。

As our attention is increasingly divided, music has become fragmented and fleetingly viewed, something that is ever-present, forming background noise to the everyday, online and in physical space. Increasing use of the internet and software becoming more accessible has resulted in music's duration, presentation, and experience adapting to fit the format of the online platforms with which it is disseminated. This has resulted in music's material carrier (CDs, MP3s) being removed, meaning duration and form--linked to material--has become transient and ontologically indeterminate, and so it's fixed medium, which has shifted to cloud-based storage, is now unfixed. A practice of 'unlistening' now emerges, where multiple media (social media, video, etc.) is being experienced simultaneously, and music is, as Eldritch Priest states "heard but not listened to" (Priest, 2013).My project attempts to navigate how music's ontological status has been fundamentally challenged and transformed in the internet age. The practice output aims to conceptualise music as an intangible, non-periodised art form not completely experienced in a set period of time. The project sub-title x For y Hours, where x (material) exists to mediate y (indeterminate time), will serve as an overarching concept title for the generation of musical works exploring broad mediums such as 'concert-installation', site-specific performance-installation, and a website continuously generating music. I propose x For y Hours as a statement of how music now exists on the internet, aligning to Kenneth Goldsmiths definition of appropriation as 'repurposing in the digital age'. This project sits within the context of questioning the 'new' which has foregrounded in New and Experimental music discourse over the last decade. Since the early 2000's music born on the internet has subverted ideas of the future as being progressive and new and the claim that there are no inherently 'new' sounds has become commonplace. Through the lineage of claims in the art world to destroy the 'old' and delete the past, coupled with what has been described as the end of the future (Berardi, 2011, Fischer, 2014), a re-emergence of appropriation, once a vanguard enterprise belonging to modernist tradition, forms a critical component and aesthetic of disparate genres such as conceptual music and the electronic music microgenre vaporwave. This digital take on appropriation, as exemplified in the hyperrealism of Giant Claw's music and the early vaporwave micro-sampling of Daniel Lopatin, certainly echoes conceptual artist Douglas Huebler's statement "the world is full of objects, more or less interesting; I do not wish to add anymore" (Huebler, 1969), whilst also paving the way for 'New Conceptualism' to emerge in experimental music practice (i.e. Johannes Kriedler).