¶ 1 Leave a comment on paragraph 1 0 ABSTRACT: This chapter explores the role of storage in media art and, more specifically, its role in collaborative creativity within the field of networked music. Through a series of paired analyses of works that differentially emphasize transmission and storage or which employ different approaches to storage, the chapter discusses different opportunities, challenges, and issues related to storage in collaborative, networked art. Music by the Rova Saxophone Quartet and by Nick Collins frames a discussion of composition and improvisation; two works by The Hub initiate an analysis of the influence of technology on network design and on collaborative models of shared material and shared control; broadcast works by Max Neuhaus introduce the concept of active storage systems; the online sites WebDrum and Jamglue raise questions about network latency and the persistency of storage; and Bicycle Built for 2,000 and Graph Theory manipulate the level of awareness of storage mechanisms by various participants.
¶ 3 Leave a comment on paragraph 3 0 BIOGRAPHY: Jason Freeman breaks down conventional barriers between composers, performers, and listeners, using cutting-edge technology and unconventional notation to turn audiences and musicians into compositional collaborators.
¶ 4 Leave a comment on paragraph 4 0 Freeman’s works have been featured in The New York Times, on National Public Radio’s All Things Considered, and online at USA Today, Wired, and Billboard, which called Network Auralization for Gnutella (N.A.G.) “an example of the Web’s mind-expanding possibilities.” His instrumental compositions have been performed by groups ranging from the American Composers Orchestra, Le Nouvel Ensemble Moderne, the Nieuw Ensemble, and Speculum Musicae to the Rova Saxophone Quartet, the So Percussion Group, and an elementary school band, chorus, and orchestra in Richmond, Virginia. He has received awards and grants from Turbulence.org, ASCAP, the American Music Center, Meet the Composer, the Yvar Mikhashoff Foundation, and Akademie Schloss Solitude. Freeman has also published articles about his work in Computer Music Journal, Leonardo, Organised Sound, and the Journal of New Music Research.
¶ 5 Leave a comment on paragraph 5 0 Freeman received a B.A. in music from Yale University and an M.A. and D.M.A. in composition from Columbia University. He is currently an assistant professor of music at Georgia Tech in Atlanta, where he also serves as executive director of Sonic Generator, the university’s ensemble-in-residence.