The Internet is the Enabler.

The web was to remix culture what the wheel was to transport.

An enabling factor.

The web, is a distribution technology. The idea that technological advances in music distribution brings about shifts between genres is that of Dr Andrew Whelan.

His argument makes a lot of sense, and in regards to the web, has spawned the growth of an entire genre come industry dependent upon the progression of remix culture.

DJing.

DJing has come a long way over the past decade. Certainly, it is a more complex art than it ever was, and now encompasses the idea not only of “mashup”, but of musical production. To be an exceptional DJ in 1999 was to be brilliant at finding tracks with a similar chord progression, with the ability to weave them together to create a patchwork of musical harmony – or chaos, depending on your preference! Here’s one of my favourites of all time, Love Don’t Let Me Go (Walking Away) – David Guetta vs. The Egg. A mashup of Love Don’t Let Me Go by David Guetta and The Egg’s Walking Away.

DJing in 2014? It’s so much more. DJ’s are now producers. The mashup? A mere tool in the belt of the new dance floor virtuoso. A good mate I went to High School exemplifies this. His name is Trey-V and he started out using a mashup app on his iPod Touch, remixing songs in his room after matches for a state hockey tournament in Bathurst. Now? He’s an up and coming producer/DJ in Sydney, with residency at Hostage X in the ‘Gong, Candy’s Apartment and 169 Oxford Street in the City, The Roxy in Parramatta as well as Hype Fridays at Macarthur Tav in Campbelltown and a once a month residency at Moose Heads Nightclub in Canberra.

But how did all of this happen? What enabled the change from mashup master to production pro?

Trey-V says, “Without the internet I wouldn’t really be able to succeed.”.

He distributes his music through SoundCloud because it is “The most accessible and practical way to access and find and download music”, while using production programs like FL Studio and Ableton, to complete his work. All accessible through the internet.

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Ara vs. X – Transmedia Storytelling

Transmediality: Is your technology capable of supplying distribution channels that could contribute meaningfully to a transmedia narrative?

Yes. But to differing extents.

These devices are designed to enable people living in third world nations to participate in the conversation. To learn. To consume. To produce. To prosume and to produse.

This is abundantly evident just by looking at the capabilities of the devices.
Ara’s capabilities are up too it’s produser, but the ability to create a powerful machine capable of connecting to the internet, enables the delivery of transmedia narratives through a variety of channels.

Nokia X is not too shabby either, but a less powerful device overall. Its weak specs and lack of access to Google’s services natively work against it when awarding points. However, a hacked Nokia X can in fact sideload certain apps and download directly from the Google Play store once the enabling applications have been installed, opening X to the litany of delivery channels Ara enjoys as part of it’s most standard experience.

Google Play is the key for both devices. It’s the factor which enables the devices to connect to the delivery channels of transmedia storytelling. Google Play provides access to Books, Movies & TV Shows, Apps & Games and Music.

Additionally, pre loaded internet browsers allow the users of these devices to harness the power of the internet, while providing the publishers of the transmedia story with another entry point. Users can engage in prosumption and produsage through these devices, and add to the world the transmedia story creates through internet forums and dedicated social networks – sharing and distributing remixed, reworked pieces of the story to add to the universe through collective intelligence hives.

Clearly, they can both deliver complex, coordinated mass scale transmedia stories across various mediums. X is good, but only once the software has been heavily modified. As such, Ara is far better at providing distribution channels which contribute meaningfully to a transmedia narrative.