The role of generative arts in supporting cultural participation: A conceptualisation of the Jam2Jam network jamming tool
Adkins, Barbara A., Dillon, Steven C., Brown, Andrew R., Hirche, Kathy L., & Gibbons, Craig R. (2007) The role of generative arts in supporting cultural participation: A conceptualisation of the Jam2Jam network jamming tool. In VSMM2007, Springer, Brisbane. (In Press)
This paper argues that generative arts tools to support creative participation in the field of community music have the potential to enhance peoples' capacity for cultural participation. Twenty First century music makers utilise digital technologies in the process of music making and these technologies provide the potential for different kinds of access to musical experience. Whilst most technologies are often isolating, the development of generative processes and networked environments provides an opportunity to explore collaborative music making with digital technologies that are accessible to a broad range of people (Dillon & Brown 2007). In outlining the concept of the Jam2Jam tool, we illustrate the way in which the tool has been designed to possess some of the capacities that were traditionally expected to be acquired by individuals, thereby potentially reconfiguring the traditional relationships of access to the field of culture. The development of the tool,then, needed to be based on a provisional conceptualisation of the properties that are likely to enhance musical participation. The paper first turns to an introduction to the concept of generative arts and a description of the jam2jam tool as an instance of a specific kind of generative arts tool for the support of creative collaboration in the field of music. It then reviews what is at stake in enhancing participation in this field and the properties of the tool - the digital and online characteristics - that may promote this. This raises the question of the key processes and mechanisms that are required to produce access to creative collaboration in the use of the tool and the specific nature of its potential contribution to cultural participation. We argue that its specific relevance lies in its potential to foster the aesthetic disposition (Bourdieu, 1984; Adkins,1998) by enabling the manipulation of readymade musical styles and forms to produce specific variations as musical works. The processes of Meaningful Engagement as theorised by Brown and Dillon are proposed to be central to this process (Brown 2006; Dillon, 2006, 2007). The paper finally reports on some preliminary observations of the use of the tool by children in the context of community arts workshops, pointing to important questions regarding the relationships that will optimally promote the achievement of collaborative music making.
Impact and interest:
Citation countsare sourced monthly fromand citation databases.
Citations counts from theindexing service can be viewed at the linked Google Scholar™ search.
Full-text downloadsdisplays the total number of times this work’s files (e.g., a PDF) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.
|Item Type:||Conference Paper|
|Subjects:||Australian and New Zealand Standard Research Classification > INFORMATION AND COMPUTING SCIENCES (080000) > INFORMATION SYSTEMS (080600) > Computer-Human Interaction (080602)|
|Divisions:||Current > Research Centres > Australasian CRC for Interaction Design (ACID)|
Current > QUT Faculties and Divisions > Creative Industries Faculty
|Copyright Owner:||Copyright 2007 Springer|
|Copyright Statement:||This is the author-version of the work. Conference proceedings published, by Springer Verlag, will be available via SpringerLink. http://www.springer.de/comp/lncs/ Lecture Notes in Computer Science|
|Deposited On:||14 Aug 2007|
|Last Modified:||11 May 2012 08:48|
Repository Staff Only: item control page