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Published on January 16, 2008

Author: Dorotea

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The New Cosmopolites: Activating the Role of Mobile Music Listeners:  The New Cosmopolites: Activating the Role of Mobile Music Listeners Gideon D’Arcangelo ESI Design/New York University 2nd International Mobile Music Workshop Vancouver, BC Canada May 25, 2005 Identity is separating from place.:  Identity is separating from place. Geolocation is a progressively weaker influence on personal identity. Ease of global travel loosens bond of place. Global telecommunications enables frequent contact within scattered communities. Identity wants to be mobile.:  Identity wants to be mobile. People on the move seek an identity that is fluid, flexible and transplantable. Cultural attributes such as language, fashion, cuisine, religion all travel well. Mobility becomes an overarching way of being. The distinction between “at home” or “on the go” is secondary. Music reinforces identity.:  Music reinforces identity. Personality is strongly related to musical choice. “The sense of ‘self’ is locatable in music. Musical materials provide terms and templates for elaborating self-identity” – Denora “How much importance do individuals place on music?”; (music and hobbies rated high over number three, food) “How much do people believe music preferences say about themselves?” (music, hobbies and bedrooms rated equally high) “How much do people believe music preferences reveal about their own and others’ personality?” (music and hobbies well over movies) — Rentfrow and Gosling Slide5:  G - Excuse me, sir, can I check out what you’re listening to on your iPod? R - Oh, really Cher. Cher! I like her. I like her personality. I think she’s a nice person. Don’t you think so? Do you remember her old shows on TV? Every time she came up it was something different. She keep coming back. Every year she keep coming back with a hit. G - Where you from originally, if I may ask? R - I was born in Cuba. G - Do you have any Cuban music on there? R - No. I don’t like Cuban music. You know why, Cuban music doesn’t change. When I was kid, I remember sometimes I hear people playing Cuban music, and it’s always the same. It’s always the same. 50 years ago and 20 years from now, it’s going to be the same. Life goes on, you know. I remember when I was a kid I would listen to this, and I say “My God, people are still playing that? It’s hard for me to believe it. I can listen to it for awhile, but I would never put it in my iPod. I would never put it in my iPod. Isn’t that horrible? I’m not a Cuban, you can see. Your personality goes in here. Field Recording: René Union Square, New York City April 10, 2004 Taste is becoming more eclectic.:  Taste is becoming more eclectic. In 2007, global urban population will equal rural population for the first time in human history. The archive of recordings continues to amass. Exposure to cross-cultural media is becoming more pervasive. Cosmopolitanism is becoming mainstream. There is an incentive to individuate. Listening behaviors are becoming more idiosyncratic. Slide7:  A- In the past there were musical cliques, punkers versus metal heads, rockers versus mods, east coast versus west coast hip-hop - you know anyone that defined themselves by music as that part of their identity. I think that’s really going out now – because everyday there is more music in the world than there’s ever been before. It’s a cumulative process. It just keeps going. People today are more eclectic than they’ve ever been – and that whole question, ‘What kind of music do you listen to?’ [that you ask] when you meet someone, has really gone out the window. It’s really obsolete now, because everyone will say, “Oh, everything… a little bit of everything.” Field Recording: Andy APT Nightclub, New York City December 7, 2004 Taste aggregation gives an indicator of eclecticism.:  Visualization of artist clustering eroded by collaborative filtering for top 1,000 most listened to groups in Audioscrobbler database (as of March 2005) - courtesy - Renaud Lambiotte Taste aggregation gives an indicator of eclecticism. Taste aggregation gives an indicator of eclecticism.:  Taste aggregation gives an indicator of eclecticism. SAMPLE IDIOSYNCRATIC GROUPINGS: [Crosby, Stills, Nash and Young, Orb, Zero 7, Royksopp, Stan Getz] (folk rock, electronica, electronica, electronica, bebop) [The Lemonheads, Samuel Barber, Craig Armstrong, Isaac Hayes, Chris Coco, Amy Winehouse, Ralph Vaughan Williams, Pyotr Ilyich Tchaikovsky, Hooverphonic, Ludwig van Beethoven, Moony, all girl summer fun band, 1 Giant Leap, Dirty Vegas, George Gershwin, Johannes Brahms, Adiemus, Wolfgang Amadeus Mozart, Alison Moyet, Sergei Rachmaninoff, Fred Neil] (alt rock, classical, through-composed soundtrack, soul, DJ electronica, jazz vocals, classical, classical, alt rock, classical, dance, alt rock, world, house, classical, classical, new-age, classical, pop, classical, folk rock) Musical taste is expressive.:  Musical taste is expressive. As more and more choices are afforded to each of us, the act of choosing what to listen to becomes a creative act. “After decades of being the passive recipients of music in packages, listeners now have the means to assemble their own choices…They are dubbing a variety of sounds from the world, making compilations of a diversity unavailable from the music industry, with its circumscribed stables of artists, and an ever more pervasive policy of only supplying the common denominator.- John Oswald “Audio Piracy as a Compositional Prerogative” 1985 Slide11:  G - Excuse me, can I listen to what you’re listening to there? W- What? G - Can I check out what you’re listening to? W - Sex. C. E. X. He’s kind of one of these laptop dudes - weird little electronic artist. Saw his show at the Bowery Ballroom a while ago and he had these funny gold teeth that say sex C. E. X. And he crowd-surfed. He stripped down to his tighty-whities and when he got back on stage, he had a boner. It was really funny. So, he’s forever endeared to my heart. G - What is this CD? A mix CD you put together? W - It’s because I’m too poor to buy an iPod. G - You don’t have the signature white earbuds. W - No, I’m not that cool. G - Could you call this your “spring mix”? W - I’ve been calling it FLUX, that’s what I’ve been calling it. ‘Cause it’s been what I’ve been listening to while I walk around the city because it’s finally nice. ‘Cause it’s spring, and it’s different than my winter music. The music doesn’t have a particular genre, because I’m crazy and can’t pick one. G - How often do you put a mix like this together? W - Probably once a week, because everything’s so different from week to week. G - And then do you give your mixes names? W - Yeah, I give them names, and when I’m done with them, I give them away to my friends. Because they’re of no use to me anymore. Field Recording: William Union Square, New York City April 10, 2005 There is no such thing as a music consumer:  There is no such thing as a music consumer Engagement with music is by its nature an activity that involves feedback. You can’t consume a process. All players in the experience are active in a rich musical experience. There are no passive listeners - all listeners should be considered active players. In fact there are power listeners that play a key role in the overall health of the system. Continuum of Musical Experience:  Continuum of Musical Experience [insert diagram here] Slide14:  G - Excuse me, man, can I check out what you’ve got on your iPod there? D - Oh yeah, sure. This is “What More Can I Say?” off of the Grey Album…. I have a lot of Jay-Z on here - that’s of my favorite artists. So, I have, as of last count, over 300 Jay-Z songs on there. Just freestyle songs, remixes. His last album, he released the a cappellas for it, so there’s about 50 different remixes for it. G - Do you have a Jay-Z mix of this same tune that someone else did? D - Sure. Here’s one and it’s only using MTV Unplugged performances such as Nirvana, anyone who’s done an MTV Unplugged performance… He actually incorporates the hook from Kurt Cobain saying “What more can I say” and it totally changes the mood of the song - it’s still good. I really like this remix. I can think off the top of my head of over a hundred remixes to this Jay-Z album, but only about 20 or so are actually of quality. There’s one using nothing but Jimi Hendrix tracks. G - Do you have a third one of this tune? D - I should have a third one on here. G - That would be a hat trick, man. D - This one right here - the song actually starts with a sample from Gladiator… This guy used nothing but old hip hop beats so he actually took “Unbelievable,” the first single from Biggie Smalls and it fits perfectly on it. I think he had to do a little pitch shifts, but it works. When this comes on the clubs, people love it. What’s actually great is that not only did they release the a cappellas out on the Internet, but if you go into Virgin Megastores you can purchase the a cappellas on CD. So anyone that wants to remix it can remix it. Field Recording: Daniel Union Square, New York City July 7, 2004 Mobile music is not entertainment.:  Mobile music is not entertainment. Mobile music provides a framework reinforcing inward- and outward-directed identity (underwear/clothes). It enables the visitor to opt in or out of privacy, regardless of location. The threshold of privacy is no longer the front door. Mobile music is a form of identification.:  Mobile music is a form of identification. Mobile listeners create “unique musical signatures” — strands of musical taste DNA that distinguish personality. Unique musical signatures function as portable ID cards - “This is who I am.” It is a way of carrying home with you. Mobile music is a form of communication.:  Mobile music is a form of communication. In terms of outward-directed identity, mobile music has the potential to project who you are to the world. Music is by its nature a social experience. Listening on boom boxes is not feasible. It assumes an unlikely homogeneity of like-minded audiences. Nonetheless, listeners still seek community through music (new people, new music) New directions for mobile music?:  New directions for mobile music? Identity building/navigating: creating rich, dynamic musical taste profiles, playlists, smartPlaylists, playcounts, ratings, domain navigation Identity expression - revealing or concealing identity at will, like a badge or personal ID): iPod jacking, tunA. New directions for mobile music?:  New directions for mobile music? Community building (finding and assembling others who relate to your idiosyncratic musical taste): mobile versions of musicMobs, Audioscrobbler. Community expression (creating collaborative group listening experiences with mobile expressive tools): Malleable Music Engine. New directions for mobile music?:  New directions for mobile music? To empower the personal and social identities of listeners, not to serve up entertainment on the go. The New Cosmopolites: Activating the Role of Mobile Music Listeners:  The New Cosmopolites: Activating the Role of Mobile Music Listeners Gideon D’Arcangelo ESI Design/New York University 2nd International Mobile Music Workshop Vancouver, BC Canada May 25, 2005

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