1. Is the sky determined by technology or aesthetics?

The creative process and the associated aesthetics in electronic music have always been largely defined by technology. This technology has now been developed to such an extent that often it is no longer seen as a defining and/or restricting element. It is, however, the question whether this is justified. The development of specific interfaces in music technology applications has an indirect influence on the user’s behaviour - and therefore also on his or her musical choices. So it is important to consider whether we really do not experience restrictions from technology any longer in the creative process; restrictions that we might want to remove with the assistance of new technology that has less influence on the process. The underlying question is what music we would then like to make that we cannot make at the moment. What would it be like if the imaginative powers of music and the associated idiom and grammar were to define the design of technology? Or can we actually make ‘everything’ already, whether or not with the occasional technological detour? Or is this complete nonsense and are we only at the beginning of, for example, new forms of interaction between the performer and an electronic instrument, which are many times more complex than we can now imagine? Are there still very different sounds and sound structures conceivable, which require another form of technology and other forms of interaction with that technology? And could those other forms lead to new creative processes and new aesthetics?

 

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