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’ ability to operate in the field.2 The second transformation was the opening of new media 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 situations. 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 new media 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- tion Publishers. 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: 64-68. Jenkins, Henry. 2008. Convergence Culture: Where Old and New Media Collide. New York: New York

: Unwin Hyman. Frith, Simon (1983). Sound Effects. Youth, Leisure, and the Politics of Rock. London: Constable. 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. STEFFEN JUST 206 Großmann, Rolf (2008a). »Verschlafener Medienwandel. Das Dispositiv als musikwis- senschaftliches Theoriemodell«. In: Positionen — Beiträge zur Neuen Musik 74, S. 6-9. Großmann, Rolf

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 New Media - 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 new media 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 New Media 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 variablen