аЯрЁБс>ўџ RTўџџџQџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС? №П`WjbjbЃЃ %lЩ}Щ}QQџџџџџџl8FZ,­ иššААААААj l l l l l l ,… Ѕц˜ ААААА˜ АААšААААААj А*rœrАj А6Ац:ж ,^ †вŽЛА j ­ ­ R‹А‹j АУхLaptop Music: New Modes of Musicianship in the Age of Mobile Computing and Digital Networks Revised Learning Agreement for Research Project by Luka Princic SAE Technology College, London. September, 2003 Introduction The proposed research project has a hypothetical predisposition that: at the beginning of the new millenium exists an emergent phenomena which is defined as Laptop Music and which represents a fundamental shift in the way we look at and understand musical research, innovation, composition, performance and distribution of music. An 'emergent cultural phenomenon' will be researched: a laptop musician, that is at least one or more of the folowing: scientist, researcher, programmer, innovator, composer, sound engineer, distributor and media creator - this multidisciplanary view opposes certain traditional notions of composer on one hand and consumer on the other. The goal is to understand possible forces that shaped, created, influenced the emergence of such social phenomenon. To research, understand, and prove that certain cultural, social and creative contexts are most probable causes to this emergence. It is important to answer, or at least ‘tackle’ two questions: what - does this phenomenon exists - and how - what forces created a condition in which such phenomenon was possible. Both questions will be addressed in the process. Additionally, the existence of phenomenon is part of definition process within proposed research. This definition process has no intention to create a uniformly defined and generalized notion with strict edges, as it was already clear from the conducted investigation that laptop music as a phenomenon is a fluid and dynamic social emergence. However, the goal is to understand probable conditions of a fundamental paradigm shift in a number of different areas of human activity: contemporary musical composition, distribution of creative works, research & development, use of informational systems, innovation and performance. Moreover, it will be argued that within laptop music a fusion and morphing of ideas and activities that were until now separated and thus enabling creative individuals to use specialist knowledge from different and distinct areas e.g.: programming languages in music composition. Furthermore, an industry-relevant and important shift in modes of thinking and experiencing of music by already proclaimed group of 'pro-sumers' (producer-consumer) will be proposed. This shift will be examined from two adjacent perspectives: fundamental ethical, and consequent behavioral views. The former is important if we want to understand global and far-reaching consequences this social phenomenon has for other areas of human endaevor, communication and collective knowledge, while the latter would hint to a more pragmatic insight into demands of prosumer group which can be targeted by relevant industry. The ambivalence between these two views will be discussed throughout the conclusion, as the shift in ethics from a passive consumer focused on profit towards an active producer focused on creativity combined with digital networks challenges the basis of capitalist economy and therefore the type of industry we know today. In short, although the project does not have a clearly formulated hypothesis and the actual definition will be clearer during the research, laptop music is preconcieved as a social phenomenon created by behaviour, production and communication of an active prosumer that uses latest information and, often mobile, computer technology to conduct research, self-education, innovation, composition, performance and distribution of musical works and knowledge. Rationale To understand various phenomenal instances that do and will emerge in a post-millenium information society or even global world-order a thorough insight into fundamental factors and elements of information age is needed. The second half of 20th century and - more visibly - the nineties of the same century shaped the social reality in such way that certain oposing streams of forces at the turn of the millenium culminate in conflict between two distinctly different ethical mindsets that exist in certain common global space. Although the proposed research project will not be structured and focused as a case study, it will serve as a possible view of a social phenomenon in the context of musical creativity that was possible only after array of distinct events and consequent societal transformations. It is possible that soon after the emergence of laptop musician other forms of creative and prosumer 'warrior' will emerge (or is already emerging) i.e.: laptop filmmaker. In these phenomena creativity and innovation is preceeding profit - something which P. Haminen calls hacker ethic - which represents a challenge to existing notions of authorship, ownership and material value. The basic reason for this research project is therefore a deeper understanding of, and contribution of knowledge about, important transformation of social and philosophical modes of musicianship. It is believed that this research will partially touch upon forces that do and will essentially shape the music making and consumption in at least first half of next century. Secondary and consequental reason for reasearch of laptop music is relevance to the infotainment industry. This emergent phenomenon changes fundamentaly how information nowadays becomes entertainment. Apart from more obvious views and acknowledgements like inter-active content, the information combined with Internet-based digital networks has distinctly different properties then, for example, combined with television or radio. While the industry is yet starting to act after partially understanding what emergence of digital streaming and downloadable audio means in terms of infotainment, prosumer is already bypassing the middle-man in distribution and promotion of his own productions sometimes even created with free and open-source software. Although the phenomenon is probably not uniform and strictly bound within sharp borders of new ethics and notions of ownership, and therefore it is not possible to assign, for example, unified opposition to today's notion of ownership of creative work in the content industry, it is, however, extremely important for any content business and, in fact, producers themselves to understand the shift of values that can then-after be a basis for true new economy. Theoretical background Theoretical background for this research is essentially constituted of various historical, cultural, sociological, technological and economical facts, events and interpretations. The multitude of sources and scientific, artistic and interest areas represents major source of material from which goals of research will be completed. Preliminary investigation has shown that influences and factors for paradigm shift which is being researched can be historicaly traced many centuries back into the beginning of industrial revolution. This would however expand the research project to unrealistic proportions for the working timeframe. This way, it is possible to limit the research of musical historical influences to the beginning of the 20th century. More precisely, the research project will start with an advent and proliferation of personal computer - which represents first case of computer technology available to general public. Moreover, historical tracing serves as a good structural guideline from which main structure of discussion and argument might be successfully brought to a convincing conclusion. At the core of emergence which we define as 'laptop music lies the resolution to a century-long dialogue between a) futuristic hint at extending the human into a post-human condition of cyborgs and avatars (that was not properly formulated until literary subgenre of science fiction - cyberpunk between 1975 and 1985), and b) a concern about human nature, consciousness, mind and body, based on idea that human race still knows too little about the functioning of brains to be able to simply pursue the extropian upload to universal Net and dispose of obsolete body. This ambivalence, that is seemingly resolving in new century, and its implications, mark the span of historical and theoretical background of proposed research. Methodology In terms of usual academic research within social sciences, this project will require mostly qualitative research. With an addition of quantitive "gathering of data" through a questionaire. Number of resources are being taken into account, including books, research projects, essays and articles. Writings from insiders as well as outsiders are being investigated. Several interviews will be conducted with active participants on the field of electronic and conteporary music as well as software developers and 'cyber-lawers'. Although laptop music as a phenomenon is fairly new, the term in this or similar sense is not invented by authors of this research, so the origins and previous 'appearances' will be examined. Apart from difficulty of the task to 'pin down' the emergent phenomenon, this research will be daring and even - hopefully not - partially problematic in another sense. It will try to combine two approaches in conducting a social research: 'traditional' and postmodernistic. Postmodernism is being brought into the investigation here because the phenomenon we are examining is emergent in sense that it came into existence within a clash of number of influences, forces, movements, socio-economic and political situations, conflicts and conditions. Furthermore the research itself is creating a dangerous position from which a clear and proven definition of phenomenon has to - emerge. Postmodernist philosophical and theoretical discourse is therefore best choice to integrate with social fieldwork to support sharper interpretative and self-critical edge. Furthermore, it is believed, as an underlaying work-philosophy, that emergence of laptop music is closely related with a postmodern rejection of values, perception of reality, consumerism, hackerism, hacktivism and globalism. To come close to elements of these and interpret them in a given time- and work-frame it is believed postmodernist interpretation and views will come, if nothing else, very handy. Discussion Although main discussion is revolving around facts that are in fact due to being researched, it is possible to outline a historical account of influences and events that contributed to the fusion of research, innovation, composition, performance and distribution within area of audial experience. Although futurist art movement had many 'weak' points, it emphasised an important point: an alternative to fearing and attacking technology. Futurists' radical imagination was a rejection of romantic ideals and embracing of machines and cities. Most importantly, it was an effort to give formal expression to the dynamic energy and movement of mechanical processes. However, the birth of computer revolution is set in almost two centuries ago, between 1813 and 1868, when Charles Babbage published his pioneering work (Difference Engine and Analytical Engine) [5]. Together with Augusta Ada Lovelace [6][7], they represent the grand-parents of computing machines mass-produced today [8] [9]. Both world wars were not essential to development of technology, but together with cold-war stemed great deal of effort in faster innovation in the area of electrical and, soon enough, electronic machines. In 1935 Alan Touring [10] invented the abstract computing machines - now known simply as Turing machines - on which all subsequent stored-program digital computers are modelled. His influence on second half of 20th century is twofold. Apart from importance in codebreaking activity as part of Government Code and Cypher School (GC&CS) at Bletchley Park efforts to intercept and decode german Enigma-coded messages, Turing importance lies in design and development of an electronic computer. Moreover, he influenced late 20th century most important debate: whether human brain is in large part a digital computing machine - an ambivalent condition that marked post-modern society at the end of 20th century. His important contribution was also work on artificial intelligence and especially artificial life. The development of technology towards 'personal computer' and emergence of constant minituarisation was made possible by invention of transistor, which with use of second most abundand earth's material - silicon - made possible a phenomenon called Moore's Law [11]. This law sais that, at our rate of technological development and advances in the semiconductor industry, the number of transistors on integrated circuits (a rough measure of computer processing power) doubles every 18 months. Although Moore's law is technically stated in terms of the number of transistors on a chip, it is common to refer to Moore's law in reference to the rapid continuing advance in computing power per dollar cost. This view introduces different - economical and social - perspective on development in information and computer technology industry. This historical view on development of digital devices and computers leads to first personal computer intended for home use[12]. Between years 74 and 77 number of affordable minicomputer models emerged (Scelbi, Mark-8, Altair, Apple I, II, Radio Shack's TRS-80 and Commodore PET). This enabled a possiblity of new knowledge, new affordable platform for easy access to various creative acitivities especially by young. However, it wasn't before information networks and knowledge about their internals and their use was distributed and avaliable to the public, that the a certain nonpredicted shift happened. A shift that seems to be the abolishment of property. Meanwhile 20th century witnesses peculiar turns in audial culture. While an array of (again) technological inventions created completely new social setings within which music was experienced and being listened to, various forces could be percieved within two generalisations: popular music industry and serious music research. First one brought amount of music previously unimaginable to an average citizen for everyday consumption while the second direction brought about a huge gap between composer and audience. Although mentioned generalisations are heavily intertwined it could be quite confidently stated that whole human musical activity in 20th century can be percieved on the axis of these two extremes. While futurists were exclaiming their loud manifestos, first couple of decades of the century have already seen new influences on western classical music. Namely Debussy is according to writer and musician David Toop some kind of a distant godfather to ambient music with his appropriation of Balinese harmonies seen at world exposition in Paris. First half of the century can be in fact perceived as a strong rejection of traditional western harmonic, rhytmic and tonal structures. Stravinsky and especially Shoenberg, but later most notably John Cage tried to find new approaches and attitudes towards music and its composition, performance and perception. Already in mid forties but more visibly in third quarter of the century there was wild exploration of uses of electronic sounds and electronic compositions [13] happening. Stockhausen, Ianis Xenakis and Jean-Claude Risset where just few of the many enthusiastic researchers of new electronic territories. They all influence the end of the century's confusion of directions and hybridisation of many different forms and structures, after which an emergent subculture picks-up the musical exploration herritage and incorporates it into new hybrids. Last important section of discussion includes media theory and sociological research of information age. First one proliferated by thinker Marshal McLuhan, lately much more understood than in the years of his activity, and second conducted by sociologist Manuel Castells. Although McLuhan seems to be somehow populistic at some stage his visions and fast-forward thinking have nevertheless shed some light on the possibilities that mass media can offer when in hands of libertarian grass-roots activists. McLuhan can, together with a science-fiction subgenre of cyberpunk, be seen as one of the main influences on emergence of internet and digital networks which are based on TCP/IP protocol. These are, in fact, the ones that enable free distribution of ides. TCP/IP, the underlying internet protocol on top of which the web, email, file transfer and similar protocols are architectured, is the one that "routes around censorship" or any other obstacle whatsoever. Surely the picture is not so black and white, however the essence stands here. The paradox lies in the fact that popularisation and transformation of internet after invention of HTML and graphical browsers was mainly due to accessibility of information in global sense. The underlaying architecture that still enables this accessibility was at the time already established and virtualy fixed in stone as Internet Standard. Only later malicious attempts to "shut down internet" called for urgency to modify that standard. The TCP/IP was developed by scientists with scientists in mind - and scientists' main concern is expansion of knowledge in form of factual information. On the other side of paradox is business-for-profit, which on one side grows and depends on scientific R&D but on the other side needs to conceal the information from the competition in order to grow and expand further. This paradox and ambiguity of capital and ethics is one of the most controversial in the moment of emergence of laptop music. With a moment of the arrival of personal computers on the home market, which of course included games - and therefore sound and animation, an important tool was given into hands of youngsters: a completely new creative playfield where mathematicaly talented could explore the workings of computer languages. Like audio tapes in music industry, computer tapes were quick to be filled with computer games and distributed among friends and further. Kids like to play pirates. Or different good vs. bad games. They also like to run secret groups and invented societies. From this imagination first pirate and cracking groups came into being. To promote their supersecret endaevor, again, mathematicaly talented cracked the games they were distributing and added a small animation with rolling text before the game. There were no passwords at the time. Only 'intros' and 'cracktros' - small animations, essentially couple lines of code, before the game code, that informed the player which group has brought 'him' this superb game. This small creative add-on was the beginning of the demoscene. Demoscene grew into independent form, a movement mostly neglected from the researchers. It essentially comprises of mostly teenage enthusiasts that use computer as a platform for creating real-time executed animations (with similar or even same programming techniques and routines as for computer games) which are, however, together with accompaniing music standalone works meant to be watched like a video or short movie. Demoscene is also split into coders (that mainly code for demos, intros or cracktros), musicians and graphicians. They all have in common a driving enthusiasm towards learning, creativity and, of course, distribution of their works for free. The structure of the research would conclude in main discussion revolving around topics of: Music of 20th century Personal computer and the Demoscene Internet and Free Software Music Industry in 21st century Freed Music and Virtual Audio Publishing Microsound and Laptop Performance Essentialy, at the core of the phenomenon seems to stand a paradigm shift in work ethic from which arises the attitude that there is no true ownership in digital domain. If it exists, it's not a common social good. Concealment of information is oppostion to progress for selfish reasons. At the same time freedom of choice, anonymity and privacy are highly respected and fought for. The information highway has in fact become a huge digital library, a all-accessible pool of human knowledge, and even more, of human innovation and distribution of creativity. Laptop music could represent an important expression of this paradigm shift, a visible and practical surfacing phenomenon, rising from the sea of incomprehensible technological advances, with practical products, creative expressions, artistic narratives, and back again to software tools that inseparably merge with products, expressions and narratives. 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