Here’s a quote from a new book about about art education, filed under recommended reading. It’s a problem, clearly stated, about where to focus.
Established Media versus Emerging Research
If one defines an artist’s role as innovator and anticipator, then the curriculum must reach out beyond today’s new media. Indeed, in our kind of culture every area of scientific and technological research is a potential focus for the arts. This approach poses major challenges. How does one decide which emerging fields are worth investigating? How does one prepare to teach in such rapidly developing fields? How does one reconcile the need to teach students mastery of contemporary media while also preparing for more imminent futures?
We’ve been working with Ableton for more than two years to bring Max and Live together. From the outset, our goal was to create the concept of a dynamic Live device that would make the application itself seem editable.
There is a new article about “The Future of Music” everyday. Every once in a while something is written on the topic that seems to indicate a bench mark in the discussion, something with a little perspective. A recent ReadWriteWeb article has some of these qualities. The article specifically deals with the online aspect of the future of music and what types of services we may see more of.
[Picture from a section of the article titled "Legal Battles With Record Labels"]
A friend showed me this video a while back. It illustrates and provides a good example for something happening on a larger scale, something referred to as The Loudness War. And now a quote from the glorious wikipedia:
The phrase loudness war (or loudness race) refers to the music industry’s tendency to record, produce and broadcast music at progressively increasing levels of loudness each year to create a sound that stands out from others and the previous year.
