’ ability to operate in the field.2
The second transformation was the opening of newmedia markets around
the world, as state-controlled terrestrial channels gave way to new, privately
owned satellite services. Hungry for content, these services acquired a huge
number of US feature films, TV programs, and popular music, at a time when
many of the most successful individuals in Hollywood were busy pushing the
envelope of violence and vulgarity. The result was a sudden flood of American
entertainment into parts of the non-Western world where the vast majority of
others in new
Anthony Giddens addresses this as ‘disembedding mechanisms’,
(Giddens 1990), a process where de-culturalisation has also been described
as ‘uncoupling’ (Lundberg, Malm and Ronström 2003). Disembedded
cultural expressions turn up in new contexts. The newmedia provides new
possibilities and music is perhaps the cultural form that has adjusted in the
most total way to the new techniques. The mediatised musical forms seem
to have gained infinite opportunities with the Internet.
At the same time we can observe another process that gives the
Brunswick, NJ: Transac-
Hardt, Michael and Antonio Negri. 2009. Commonwealth. Cambridge, MA: Belk-
nap Press of Harvard University Press.
Hong Jeong-soo (홍정수). 2001. “Jongjogeumaghag, Hangugeumaghag, Eum-
aghag” (종족음악학, 한국음악학, 음악학, Ethnomusicology, Korean Musi-
cology, Musicology). Seoyangeumaghag (서양음악학) 4: 79-81.
Hong Nan-pa (홍난파). 1936. “Dongseoyang eumagui bigyo” (동서양 음악의
비교, Comparison of Eastern and Western Music). Shindonga (신동아) 6.6:
Jenkins, Henry. 2008. Convergence Culture: Where Old and NewMedia Collide.
New York: New York
: Unwin Hyman.
Frith, Simon (1983). Sound Effects. Youth, Leisure, and the Politics of Rock. London:
Garcia, Luis-Manuel (2016). »Beats, Flesh, and Grain. Sonic Tacility and Affect in
Electronic Dance Music«. In: Sound Studies 1 (1), S. 59-76.
Gitelman, Lisa (2006). Always Already New. Media, History, and the Data of Culture.
Cambridge: MIT Press.
Großmann, Rolf (2008a). »Verschlafener Medienwandel. Das Dispositiv als musikwis-
senschaftliches Theoriemodell«. In: Positionen — Beiträge zur Neuen Musik 74, S.
sometimes contradictory way in which intermediality is defined
and used as a concept. While scholars in literary studies often use this term in more or
less open association with the terms »intertextuality« and »intertext« as developed by
Julia Kristeva7, scholars in media studies often connect it to the concept of »remedia-
tion« as introduced by Jay Bolter and Richard Grusin8 to describe the generic interre-
latedness of »old« and »new« media. As Irina Rajewsky has aptly stated, the concept
of intermediality has become a termine ombrellone – a comprehensive buzzword
developed by Miller Puckette and, because it is an open source
project, there are a large amount of developers working on extensions to the program.
2 | Alexandre Porres. Musician, composer and researcher, has a master’s degree in Com-
position/Creative Processes at UNICAMP (2008) and a PhD in the area of Sonology/Com-
puter Music at USP. He was a researcher in CIRMMT/McGill in 2010. Areas of Interest:
- Creation, Per formance and Improvisation in Contemporary Music and NewMedia
- Music and Technology (Production Sonora, Computer Music and Electroacoustic Music
Mikhail Bakhtin and are frequently
used in research on historical ensembles at exhibitions.
38 Eight minutes from the film are accessible online at www.stockholmskallan.se/Soksida/
104 | Signe ROTTER-BROMAN
referential experience (the film showed people approaching the main buildings of
the exhibition by boat and horse tramway, a part of the inauguration ceremony,
and scenes from Gamla Stockholm), the visitor left the chronotope with the con-
viction that “a way back to the situation before the transition and before the contact
with the newmedia no longer was
-Morin, A Multimodal System for Gesture Recognition in
Interactive Music Performance, in: Computer Music Journal, 33:4, Winter 2009,
S. 69 f f
80 | Vgl. Steve Dixon, Digital Performance, A History of NewMedia in Theater,
Dance, Performance Art, and Installation, MIT 2007, S. 183 f f
III. Max imalism 2: Max als in-formierender Raumrepräsentant 163
Künstler die Bühne, welche nun nicht mehr im Konzerthaus sondern
in Galerien oder öffentlichen Raumkomplexen zu finden ist. Dabei ins-
talliert bzw. inszeniert Rokeby häufig in direkter Verbindung mit diesen