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For a scene that claims to want novelty and diversity, it is striking that all the digital artist call-outs at the moment look exactly the same. They all award bonus points for the same areas of interest: Internet of Things, Sensors, Wearables, Futures, Interaction, Disruption, and of course, Innovation.

For all its jabber about storytelling and imagination, digital consistently values equipment and effects over ideas, mechanics over feeling, soundbites over nuance. We have a creative technology scene so wary of unimaginably original ideas that it can list the ‘innovations’ it’s after, right down to the technical parts involved.

The sums offered to any accommodating geniuses generally amount to little more than the minimum wage. This latest rash of product-driven creative technology residencies feels like a reincarnation of the “Hackathons” of five years ago. Hack days were criticised for exploiting free labour, and while there at least seems to be some money this time around, it still has the whiff of an ‘opportunity’ – the feeling that someone is doing us a favour by letting us play; that we ought to be grateful.

After all, we’re not boosting economies fast by making art. Main Menu U. Cost of Living. Anywhere But Here. Follow us. What’s Hot. So are we valuable, or not? Do you want us here, or not? Globally and historically, most musics are not gathered and formalised in this way. For me, sometimes a music stand and a conventional score represent a kind of barrier- not only in a physical sense, but also in terms of what they permit of the performer.

There is a great deal of interpretative room in classical playing, the detail of which can be highly sophisticated and can represent a disciplined and profound relationship with musical material.

But sometimes the conventional score can risk becoming dictatorial. What makes improvisers make certain choices- when to introduce an idea, when to move on, when to stop, how to find the right balance between technique and freedom from technique, and so on?

An improviser friend recently told me that for an improvisation to be any good, it needs to contain the risk of being total rubbish. Imagining this process how a dancer might, it would be akin to improvising with a prop- say, a piece of furniture- then re-creating the improvisation a second time after taking the piece of furniture away.

More than this though, there would tend to be no sharp edges, it would feel mellifluous and suggestive. I felt audio scores might also help me play with the potential of the visual in performance. Beyond these acquisitions, Spotify is also making aggressive moves into the live entertainment space, organizing multi-city tours around its RapCaviar and Who We Be playlists in partnership with Live Nation, as well as intimate, highly-targeted concerts with the likes of Kylie Minogue and Keith Urban through its Fans First initiative.

Today, Spotify is both the radio station and the record store. We both create demand for music and monetize it. Out of all the streaming services in the market today, Spotify might be the best-positioned to become the definitive SCaaS provider for the music industry, in terms of expanding beyond distribution into creative, marketing and rights management offerings. Even though Google, Amazon and Apple are gaining ground with their own music streaming apps, they arguably see music as a marketing loss-leader to support sales in other verticals like devices or IT services, and are less interested in going deeper vertically into music than in venturing horizontally into multiple other industries, such as fashion and healthcare.

Spotify sees this contrasting approach as a competitive advantage, rather than a weakness. Label contracts more broadly are increasingly moving to a customizable services model, to reflect the flexibility that artists demand.

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What does RD stand for?.Contemporary R&B – Wikipedia

On Thursday, I spoke at an event called ” Make, Do and Bend “, described by its organisers, The Hub, as a “one day event for musicians, composers, producers, curators and arts managers with an interest in live performance and making digital projects”. A quick skim through the tweets shows how successful it was as a what does r&d stand for in music event, too.

There was a definite sense that people who are used to working with clients, audiences, producers or artists, don’t often get to chat to each other, and appreciated the opportunity. According to a definition I found somewhere, digital innovation requires:.

It’s another term for risk-taking, with the goal that at some point these experiments will pay off and the value of the output will be boosted beyond the cost.

This old-school ‘innovation’ is the muse of digital agencies producing extra-curricular creative technology products like educational tools or games. It might result in fun and challenging work, but make no mistake, the goal is to make more money for the agencies. What does r&d stand for in music there’s another economy which нажмите для деталей reward work which is exploratory in and of itself.

No one ever asks what the problems are in digital which the arts might be able to solve. The arts are on the back foot. As I often say, why don’t they have dancers-in-residence at Google? We have a creative technology scene so wary of originality that it can list the ‘innovations’ it’s after, right down to the technical parts. Many interesting things resulted, but none involved innovation in an economic sense and none brought about products.

However, in a completely different sense, the mere existence of some of what does r&d stand for in music programs was innovative. Sometimes just parachuting a technology person into an arts environment is surprising and challenging enough подробнее на этой странице count as a sort of artistic performance in its own right. The value is woolly, subjective, emotive and economically defiant – just like art. The culture industry is great at discussing things forever; digital is great at whittling down definitions.

It’s particularly difficult, because artistic or ‘cultural change’ projects are playing by similar rules to product development ones, often pitching for the same cash.

But the game we’re playing, and what we’re getting out of it, is totally different. There may be no way of knowing any of the outcomes we’re hoping for before we start. Perhaps, for artists, research projects what does r&d stand for in music development projects. I don’t know anyone making a living through digital creative work alone.

It talks and walks like industry, but who’s making the money? Understandable, but a bit futile. And of coursecommercial digital has an interest in supporting things which aren’t motivated by money. Who doesn’t love a нажмите сюда This is one of the biggest un-interrogated problems with digital culture: the commercial interests are working the ethical angle. One of the biggest problems with digital culture: the commercial interests are working the ethical angle.

For a scene that claims to want novelty and diversity, it is striking that all the digital artist call-outs at the moment look exactly the same.

They all what does r&d stand for in music bonus points for the same areas of interest: Internet of Things, Sensors, Wearables, Futures, Interaction, Disruption, and of course, Innovation. For all its jabber about storytelling and imagination, digital consistently values equipment and effects over ideas, mechanics over feeling, soundbites over nuance. We have адрес creative technology scene so wary of unimaginably original ideas that it can list the ‘innovations’ it’s after, right down to the technical parts involved.

The sums offered to any accommodating geniuses generally amount to little more than the minimum wage. This latest rash of product-driven creative technology residencies feels like a reincarnation of the “Hackathons” of five years ago. Hack days were criticised for exploiting free labour, and while there at least seems to be some money this time what does r&d stand for in music, it still has the what does r&d stand for in music of an ‘opportunity’ – the feeling that someone is doing us a favour by letting us play; that we ought to be grateful.

After all, we’re not boosting economies fast by making art. Main Menu U. Cost of Living. Anywhere But Here. Follow us. What’s Hot. So are we valuable, or not? Do you want us here, or основываясь на этих данных Go To Homepage. Leila Johnston.