- Part of 'A topology of musical encounter' (summary) -
Alike the way we construct free and associative relations in our minds, creating infinite possibilities of passing from the one subject to the other, the multi-dimensional relation of things is one of the main characteristics of the digital space. The difference with the mind is that in digital space these relations have to be programmed artificially. Therefore our personal intervention is required to pre-think the dimensions, and then realize them digitally. And while the mind is hardly capable of exactly repeating any string of thoughts, as soon as dimensions are fixed digitally, they will function repeatedly and without mistake. After we have built a digital interface representing us as musicians in digital space, it means we have to put to work how we increase our digital life’s quality – we need to connect to those dimensions that we consider to be appropriate to our musical individualistics. It requires a direct translation from the musical DNA of our personalities into single words and phrases called HITS, and they determine where and when we exist and in which surroundings - in relation to who and what.
In the personal reality every individualistic is understood in a complex web of memories and associations, musical skills and conceptions, in interaction between the surrounding and the self. At the moment these characteristics become digital dimensions these considerations need to be materialized in one simple and concrete HIT. It is a refined process to find the right terms, too many words lead to too many different paths and generalisations connect to too large dimensions to be effective.
“The basis of our working method within OOKOI is a continuous restructuring of sounds. We gather sounds, and make them part of an ongoing game with the peculiarities of spaces and digital surroundings. We question the now, then, together with the here or there, continuous or momentarily. In this game of sounds, times and spaces the listener becomes more or less conscious participant. Ookoi’s primary form of presentation are 24-hour, ever-changing soundstreams without beginning or end. They are continuously broadcast over the internet. These living audiosculptures are ‘fed’ by a growing collection of live-recordings. “
- in conversation with Harold Schellinx and Peter Metens, sound-art duo OOKOI
With a first analysis of this description I come to the following words that together summarize best the content.
continuity – ever-changing – 24-hour – endless – growing collectionsoundstructures – soundstreams – audiosculptures – live-recordingsgame - participation
Now we have some representative terms, although some words express more or less the same. I limit those by distinguishing two main categories that are largely represented:
eternity - music
When effective settings are found, the digital dimensions can be of enormous potential for the curating of new musical collectives, on the basis of their connecting dimension. We can connect OOKOI to all other musicians represented digitally that connect on ‘eternity and music’. Semantic networks in the digital space provide an effective digital tool to establish new musical collectives on the basis of personal characteristics. The easiness and enormous scale on which relations can be discovered are of great value for development of musical encounter on the basis of personal connections. Furthermore, the public availability that worldwide access to digital space provides makes the art and application of semantics into a process for everybody - composers, mediators, musicians and listeners can all participate in the collective composition and investigation of our musical culture.
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