Abstract and Keywords
This chapter interrogates the processes underpinning co-creation of musical works by the authors in Australia and the UK (when the article was written) who use asynchronous online file exchange as a research tool and a creative device. Conventional immediacy is drawn into a histological context, when improvised audio stems become displaced musical conversations to be further studied and responded to via emergent action cycle themes and multidimensional possibilities according to Borgo’s notion of phase spaces. In this, a number of trajectories are refined and revealed: from open-ended exchanges to completed works, to live performance and interpretation realities undermining the somewhat artificial idea of a critical edition or recording as “closure.” Because the authors have maintained successful music careers pre-dot-com bubble, this chapter also takes the opportunity to reflect on the contemporary environment and in terms of possible futures for online music-making technologies.
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