For a two minute run-down of Goodiepal’s lecture, check here.

Or check what momus is writing in his blog about the lecture.

Download the third and final issue of TAGMag/Structures – Strategy here.

Stewart Walker offers more thoughts on Tuesday’s panel discussion on the Persona blog.

- how did you get the idea for the soundmuseum?

Together with Katja van Stiphout I was asked in 2006 for the experimental work shop Stifo@Sandberg to develop a new music tool for internet. Sound art to me is an extremely important art form that deserves its own internationally accessible museum. With Soundmuseum.fm, we want to create that place; a place where an audience can listen to unique sound pieces in a peaceful virtual space, free from interruptions; a place that is accessible from anywhere in the world, where people can listen to original works, and where sound can rise above its visual surroundings. And we liked the idea of ‘conserving sound art’ for the future.

- what does sound museum offer that other sites/net labels do not?

Of course we looked at all the existing sound/music related projects on-line, like UBUweb, soundtransit, Last.fm and so on. Having so many ideas and seen so much happening we felt like creating something specific. A website were there is concentration for one particular thing: Sound.

As a museum you can build a collection. The museum has a gallery that changes exhibitions every month. That way we stay in touch with new sound art and new visitors. The collection and gallery exhibitions contain sound pieces especially made for the museum by sound artists, which makes them unique. We are also interested in the experiments of musicians, experiments that perhaps couldn’t find a place in the music industry. We like our content to be from different disciplines and different cultural and local sources. They can be field recordings or compositions, pieces from seconds to hours, and will range in character from full cinematic sound to silence. ‘Attention’ and ‘precision’ are essential concepts.

- for artists?

Together with our editorial team we have been inviting sound artists. Most of them reacted very enthusiastically, saying, “It is time for a place like this.” For artists we want to offer a stage for their sound art, an environment where experiment is possible, where they can place their work without a visual context.  Just like a real museum, their work is exhibited; with the difference that Soundmuseum is accessible world wide.

- for visitors?

Our visitors are sound artists, curators, sound fascinated people, journalists, scientists, but also passers-by who stop and listen. The museum wants to offer its visitors a variety of sound art in a concentrated listening environment.

- how do you see soundmuseum developing in the future?

We would like the sound museum to be an important place were a lot of sound art comes together. We want to grow and collect special sound pieces.

We would like to be the place where people come to when they want to hear new sound art pieces, or to do research on sound art.

- how does a structure like soundmuseum fit into current music/sound structures?

Our structure zooms into a specific corner. These days structures are necessary to find your way in the overload of information. There is a lot to find on sound art on the www. Even most sound artists have their own website. But how do you discover a sound artist which is interesting but lives in, let’s say, Caracas or Zambia?  Our structure is similar to a real museum. We develop a collection, which we hope has its own signature, so people will come back to discover what we offer on our ‘stage’.

- how is soundmuseum different from Last.fm?

First I would like to say that Last.fm is a great initiative. I see sound museum more as a side–dish.  I just searched a few sound artist who are in our collection in Last.fm and none of them are represented there. So I think our content is different. We have a gallery for monthly exhibitions and our collection is, similar to a real museum, the sound art collection of Soundmuseum.fm is carefully assembled by the curators and editorial staff, according to our visions. And our aim is different.

- is there a state of crisis in the music industry?

Crisis means for me “looking for new ways”, to find (new) audience, to find stages, to find structures to connect audience with music and sound art.

Monday’s Ultra-Red presentation is now online. Ultra-red have for over ten years pursued a dynamic exchange between art and political organizing. Collectively, the Los Angeles-based group has produced radio broadcasts, performances, recordings, and installations.  

// PRESENTATION: PUBLIC RECORD – ULTRA-RED’S SOUND-BASED INQUIRIES

ULTRA-RED [INT] represented at this event by MANUELA BOJADZIJEV [DE]

please check the TAG structures blog: http://tagstructures.wordpress.com/

ARTKILLART03 == CONCERTS FRIDAY! 20h->24h

a CTM Partner event

.. CONCERTS : Friday, 30 JAN 2009 .. FROM : 20:00 to 0:00
.. + EXHIBITION
.. @ .HBC BERLIN :Karl Liebknecht Str. 9, 10178 Berlin (S+U BAHN Alexanderplatz)
[ 6.66euros]
FULL INFO

ARTISTS:
/ YANN LEGUAY – CUTTER OFF DISCSECTION
/ PURE - IFICATION LIVE
/ CHDH – VIVARIUM PERFORMANCE
/ MICHAEL SELLAM – ODE TO JOY
/ VENHZA CHRIST [honf] – LIVE PERFORMANCE
/ RYBN – [av/rt/p]
/ JoDi – FOLKSOMY.ALPHA

and check out the exhibition including:

/ YANN LEGUAY – CUT / INSTRUMENTAL ‘ ‘ ‘ ‘
/ MARIKA DERMINEUR, STEPHANE DEGOUTIN, GWENOLA WAGON – WHAT ARE YOU ?
/ JEROME FINO – EYES FOR EARS : MACRO VIDEOS
/ MICHAEL SELLAM – THE FLYING DUTCH MAN
/ KUDA – SAFE DISTANCE
/ JUSTICE YELDHAM – BETA : DVDR

This event is hosted by AKA, supported by staalplaat, and has been curated by AKA and Kyd Campbell / frontierlab.orgc. The event will be fully streamed on : http://radiowne.org

Check the Kunstraum Bethainien Flickr set  HERE.

Yesterday’s discussions at the KKB focussed on the similarities and differences between ‘enterprise’ and ‘hobby’ in music making. There were two talks, the first focussing on economic/sociological theories relating to the ‘creative class’ and the idea of Pro-Ams as defined by Charles Leadbeater:

“Pro-Ams are not professionals. They do not see themselves that way.They do not earn more than 50 percent of their income from their Pro-Am activities. … Yet to call Pro-Ams amateurs is also misleading. … Many of the defining features of professionalism also apply to Pro-Ams: they have a strong sense of vocation; they use recognised public standards to assess performance and formally validate skills; they form self-regulating communities, which provide people with a sense of community and belonging; they produce non-commodity products and services; they are well versed in a body of knowledge and skill, which carries with it a sense of tradition and identity.” Charlie Leadbeater and Paul Miller, The Pro-Am Revolution.

RICHARD BARBROOK, author of The Hi-Tech Gift Economy, Cyber-communism, The Regulation of Liberty and The Class of the New,  spoke in detail on the topic HOW ENTHUSIASTS, AMATEURS AND HOBBYISTS SHAPE THE (MUSIC) WORLD making reference to political theory and historical (non)precedent.

RICHARD BARBROOK speaking at CTM.09 Structures

In the second talk, LABELS ON THE NET: BETWEEN GIFT-ECONOMY AND ENTERPRISE, Thaddeus Herrmann of De:Bug magazine moderated a discussion between four people who run net-labels. Stewart Walker, whose PERSONA RECORDS began as a physical enterprise but recently went all digital, took the stage with three other labels that started out as net-labels including the German net-label, Jahtari, which has started adding vinyl to it’s catalogue in the last year or so.

From left to right: Moderator THADDEUS HERRMANN [De:Bug, City Centre Offices]; STEWART WALKER [Persona]; ANDI STUDER  [Netaudio, After-Dinner];   JAN GLEICHMAR [Jahtari]; MARTIN HIRSCH [Neo Ouija Records, STFU]

After an intro about music consumption, Walker spoke about the beurocratic/legal/other problems facing labels that are run as a going concern. The panel went on to discuss legal issues with offering digital music, the pros and cons of offering music gratis, issues with Beatport and how to overcome these problems. 

Memorable Comment: “Damn the long-tail! It shouldn’t be about more release, there should be less with higher quality.” (I think Andi or Jan said it… or at least something along those lines. can’t be sure… anyone else remember?

Umair Haque delivered a video as contribution to the Structures blog and ongoing discussions:

check the following link to see the video if it’s too slow here: bubblegeneration

LECTURE: THE NEW ECONOMICS OF MUSIC
	Umair Haque [UK]
	Economist Umair Haque considers the current crisis of the music industry in the light of microeconomic information and contract theory. He thereby reaches the conclusion that file-sharing is not to blame for the drop in profits but rather, the music industry’s loss of credibility – for which the industry itself is to blame – which subsequently led consumers to look for alternatives or perhaps, even to rebel. From there, Haque goes on to expound strategic solutions that seek to balance the interests of producers, consumers and those spinning the deals.