Jazz and the Media II

Harmonic

Friday 30th September (1pm – 4pm)
Birmingham MAC, Foyle studio

After last year’s inaugural Jazz and the Media conference, Birmingham City University have teamed up with Harmonic to deliver the second instalment. This year’s focus will be social media and how it can be best used to promote jazz and develop new audiences, as well as how jazz collectives are using these tools. Hosted by Tim Wall with guest speakers including Sebastian Scotney (London Jazz), Andrew Dubber and the festival directors themselves.

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An Analysis of Twitter and Facebook Use by the Archival Community

Jez Collins, of the Birmingham Popular Music Archive reflects on a recent article about the use of Twitter and Facebook by the archival community.

I started the Birmingham Popular Music Archive as way of engendering civic pride through the wide range of music activity that has emanated from Birmingham and as a way celebrating and recognising those individuals and organisations that have played a role in this.

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Music, Heritage and Cities at Un-Convention

Members of the Interactive Cultures research group attended/took part in a panel at the recent Un-Convention event in Salford writes Paul Long.

Jez Collins, the originator of the Birmingham Popular Music Archive chaired a panel consisting of: Dr Marion Leonard, who was the curator of Liverpool’s The Beat Goes On, and who oversees on ongoing project to examine how museums collect and preserve (or not) popular music; Alison Surtees of the Manchester District Music Archive; Eve Wood, the director of the documentary Made in Sheffield (2001) and Mike Darby of Bristol Archive Records.

Speakers offered insights into each of their projects, revealing the variety of practices in this field, the public appetite for music heritage and the innovations and connections that curation has been making. Surtees for instance outlined how the online MDMA had generated input from around 2000 individuals, half of which regularly posted material on the site. Some of these were members of the bands featured and indeed, these explorations of music past also connected with the present scene in ways that avoided the potential necrophilia of such work.

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Digital Academic Publishing – researching the field

Editors and publishers conference

Monday 6th September 2010

Digital development and Application; Content and Creativity

The publishing industry is currently undergoing major challenges: digitisation: is changing the material form of the industry’s key artefacts; the internet is transforming the potential ways in which publications can be distributed and the expectations of their consumers; and these two lead to profound implications for the business models of companies in the industry. Through this event we hope to bring together individuals and organisations involved in academic publishing to identify the issues and set out a way forward. We will present research we have undertaken into the perceptions of publishers, and identity models for the future which have been developed in both publication and our own work with the music business.

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Digital material archives: Web 2.0 and algorithmic memory

As part of its Wednesday research afternoons, the Birmingham Centre for Media and Cultural Research recently hosted a talk from Katrina Sluis of London South Bank University.

Katrina Sluis is a Senior Lecturer in the Department of Arts, Media and English at London South Bank University where she leads the BA (Hons) Digital Media Arts. Her scholarly interests include critical theories of photography, digital memory and contemporary fine art practice. As a visual artist, she works with photography and digital media to explore materiality, archiving and transmission in relation to the digital image.

Her paper was entitled ‘Digital Material Archives: Web 2.0 and algorithmic memory’.

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Interactive Cultures at Scarborough Jazz Festival

What is it?
‘Just Like Jazz’ is a collaborative project between <a href=”http://interactivecultures.org” alt=”Interactive Cultures”>Interactive Cultures</a>, a research unit at
<a href=”http://mediacourses.com” alt=”BCU School of Media”>Birmingham City University</a>, and the <a href=”http://scarboroughjazzfestival.co.uk” alt=”Scarborough Jazz Festival”>Scarborough Jazz Festival</a>. Part of our academic interests include jazz and so we’re working with the Scarborough Jazz Festival to explore the ways in which jazz festivals can be portrayed online.
Why is it different?
Rather than creating a brochure website around the festival, or simply filming the festival and putting that online, our goal is to capture the spirit of the festival using a range of techniques such as photography, text and handheld, personal digital video. We have given small, cheap, portable video cameras to select audience members, musicians, backstage staff and the festival organisers and asked them to capture whatever they think is interesting: the buzz of the audience, the surrounding environment, snippets of the music performed, and any discussions that take place around jazz.
PROMO VIDEO OF ANDREW: Watch members of the Interactive Cultures team describe the aims of the Scarborough Jazz project.
What are we going to do?
We’re gathering together all of this video, photography and text from our contributors and publishing it live on a website as the festival happens. We’re also tagging the content in order to experiment with the ways in which the characters and stories that are captured can be navigated by visitors to the website. This process gives audiences the opportunity to experience the festival in their own way and makes the event accessible to those who may wish to attend the festival in future years, or who may never have considered visiting a jazz festival at all.
MORE VIDEO OF Tim
Although we’ve worked on projects like this before, with <a href=”http://aftershockproject.com/shock/genoa” alt=”Aftershock”>Aftershock</a> in Italy and with the <a href=”http://www.andrewdubber.com/2009/07/thursday-afternoon-in-copenhagen” alt=”Copenhagen Jazz”>Copenhagen Jazz Festival</a>, we don’t have a fixed idea of what we’re going to end up with. We’re working with a loose structure and quite a lot of improvisation – in a way, it’s just like jazz.
Follow us
Please bookmark http://justlikejazz.org and follow along with the experiment as it happens live online between September 18-20. The website will also remain online in the future, so check back to discover our thoughts on what came out of the process.
We hope you enjoy exploring the festival online with us,
Tim, Andrew, Simon and Jez.

What is it?

Just Like Jazz‘ is a collaborative project between the Interactive Cultures research unit at Birmingham City University, and the Scarborough Jazz Festival. The team comprises Professor Tim Wall, Andrew Dubber, Dr Simon Barber and Jez Collins. Part of our academic interests include jazz and so we’re working with the Scarborough Jazz Festival to explore the ways in which jazz festivals can be portrayed online.

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Aftershock: Musical creative process as digital narrative

“I can’t believe how hard you work.” High praise from Nitin Sawhney, composer, multi-instrumentalist and (it turns out) heavy-duty arts and culture thinker.

Of course, work’s a relative term when you’re doing something really enjoyable and fascinating in a really amazing setting, but given that I was completely focused on (almost) nothing other than the task at hand from 8am till 2am over 5 consecutive days, perhaps he had a point.

I was in Genoa, Italy with Birmingham web developer and entrepreneur Stef Lewandowski to work on the Aftershock Project – a pan-European collaborative music event. In short, Nitin Sawhney turns up in a town, brings about a dozen musicians together, and they workshop, compose, rehearse and eventually perform about an hour’s worth of completely new music over the course of a week. Stef had been commissioned to make them a website, and he’d asked me on board for my perspective as the “online music guy”.

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Interactive Cultures at the Mobile Music Symposium in Minneapolis

Tim Wall: Mobile Music from Jon Hickman on Vimeo.

I was recently invited to make a contribution to the Mobile Music Symposium taking place in Minneapolis, Minnesota, in the US.  I offered the organisers a paper on the transistor radio and its role in the developments of US radio music listening in the 1950s and 60s.

In fact I should have been there today, but sadly at the last minute I wasn’t able to make the journey.  In true Interactive Cultures style, though, I offered a videoed version of my paper, and a Skype link so I could join in the question and answer session.  You can watch the whole paper presentation (it’s just over 16 minutes long) thanks to Vimeo.
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