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

随着我们的注意力越来越分散，音乐已经变得支离破碎，转瞬即逝，这是永远存在的东西，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，软件变得越来越容易获得，这导致音乐的持续时间，表现形式和体验适应其传播的在线平台的格式。这导致音乐的物质载体（CD，MP3）被移除，这意味着与材料相关的持续时间和形式已经变得短暂和本体论上的不确定性，因此它的固定媒介已经转移到基于云的存储，现在是不固定的。现在出现了一种“不倾听”的做法，在这种情况下，多种媒体（社交媒体，视频等）音乐是同时被体验的，正如Eldritch Priest所说的“听到但没有听到”（Priest，2013）。我的项目试图探索音乐的本体论地位如何在互联网时代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，非周期性的艺术形式，在一段时间内无法完全体验。该项目的副标题x For y Hours，其中x（材料）的存在是为了调解y（不确定的时间），将作为一个总体概念标题，用于探索广泛的媒介，如“音乐会安装”，特定地点的表演安装，以及不断产生音乐的网站。我建议x For y Hours作为音乐现在如何在互联网上存在的声明，与Kenneth Goldsmiths对“数字时代的再利用”的定义保持一致。这个项目是在质疑“新”的背景下进行的，这在过去十年的新音乐和实验音乐话语中占据了重要地位。自2000年初以来，互联网上诞生的音乐已经颠覆了未来的想法，因为它是进步的和新的，并且声称没有天生的“新”声音已经变得司空见惯。通过艺术世界中摧毁“旧”和删除过去的主张，再加上被描述为未来的终结（Berardi，2011，Fischer，2014），挪用的重新出现，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流派vaporwave等不同流派的关键组成部分和美学。这种数字化的挪用，如巨爪音乐的超现实主义和丹尼尔洛帕廷早期的蒸汽波微采样，当然呼应了概念艺术家道格拉斯休布勒的声明“世界充满了物体，或多或少有趣;我不想再补充了”（Huebler，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Johannes Kriedler）。

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).