“‘ART’ & ‘CONTENT’ ARE BOTH INTERPRETIVE FRAMEWORKS, AND MUSIC IS NOT ‘ART’ UNLESS WE CHOOSE TO ENGAGE WITH IT AS SUCH. THIS IS NOT ALWAYS AN EASY CHOICE, SINCE EXPERIENCING MUSIC AS ART MEANS MAKING OURSELVES VULNERABLE TO IT. WE GRANT ART ACCESS TO MEMORIES AND EMOTIONS THAT MIGHT BE UPSETTING, INCONVENIENT OR DISRUPTIVE.”
-ART VS. CONTENT BY MATT LEMAY
‘SCENES’ BY SOUND OF FRACTURES IS NOT CONTENT. IT ASKED ME TO SHARE SOMETHING PERSONAL; A TIME I WAS IN LOVE, A PHOTO. THESE ARE PROMPTS THAT NO COMPUTER CAN ANSWER - THEY PULL ON MEMORY, EMOTION & CONNECTION EXPLICITLY AND QUICKLY. GIVING COMPUTER NETWORKS THE ABILITY TO ANSWER PROMPTS IN SEEMINGLY HUMAN WAYS MAY FEEL LIKE A RELATIVELY RECENT PHENOMENON BUT THE INVERSE, CONDITIONING USERS TO HIDE THEIR HUMANITY WHILE NAVIGATING NETWORKS, IS A CENTURIES OLD PROCESS EXACERBATED BY THE TECHNICAL ACHIEVEMENTS THAT WERE SUPPOSED TO BRING US CLOSER TOGETHER. WE ALL EXIST IN OUR OWN SILOED VERSION OF THE INTERNET ALGORITHMICALLY TAILORED IN WAYS WE WILL NEVER FULLY COMPREHEND. DISTRIBUTED NETWORKS ONCE FELT LIKE AN ATTEMPT TO BRING US ALL INTO THE SAME INTEROPERABLE, DECENTRALIZED AND COMMUNITY CONTROLLED ENVIRONMENT.
“THE ROLE OF ARTISTS IS TO BREAK THE MEMETIC UNIVERSES OF THESE PLATFORMS… AND BRING THEM INTO COLLECTIVE CONTROL… APPARATUS WERE INVENTED TO FUNCTION AUTOMATICALLY… THE HUMAN BEING WOULD BE RULED OUT… THIS RIGID AND UNINTENTIONAL FUNCTIONALITY, AUTOMATICITY, IS WHAT NEEDS TO BE MADE THE OBJECT OF CRITICISM.”
-TOWARDS A PHILOSOPHY OF PHOTOGRAPHY BY VILEM FLUSSER
WE ARE AT A PIVOTAL MOMENT IN THE EVOLUTION OF MEDIA ONLINE & ONCHAIN. PLATFORMS THAT ONCE HERALDED ARTISTS ARE PIVOTING TO SUPPORT CREATORS. THE PRICE AND QUALITY OF WORK IS MOVING ACCORDINGLY. THEY CELEBRATE CONTENT INSTEAD OF ART. REPLICATING OLD SYSTEMS IS UNIMAGINATIVE.
SCENES IS POWERFUL. THE MUSIC IS EMOTIONAL, THE IMAGES AND TEXT ARE COMMUNITY SOURCED AND THE PRESENTATION IS BEAUTIFUL. IT’S NOT CONTENT. ITS SOMETHING NEW - SOMETHING DIFFERENT. GO CHECK IT OUT.
SCENES has been such a beautiful piece of history to witness & be apart of. What began as thoughtful vehicle to encourage a more intimate connection with the music i think ended up taking a life of it's own outside of the main focus (The Music) You had so many people, myself included submitting super personal and vulnerable photographic memories because of how clever and safe and honorable the transformation of those inputted memories were treated and the output of those SCENES alone is a magical successful experiment that elevated a collective of personal memories in such a profound way.
I think the emphasis on the SCENES might has distracted or confused people from Collecting the Music side of the project, I only say this because after speaking with Jamie (SOF) I was shocked to hear how many people who loved, championed and backed this wonderful performance art project never collected any of the songs, Including myself, because I honestly thought I already did. I missed the not so obvious detail that there were two options, collect song and collect scene. Because SOF put so much emphasis on the SCENES side of it, I wonder how many people missed collecting the music side like i did. If you're reading this and you also missed it but love this project, please take a few moments to go back and revisit the site to grab the music also <3
This was inspirational to watch unfold. Grateful I was able to witness it up close..
It started off as being about re-connecting with music, and it ended up being about re-connecting with ourselves. Scenes start led as a conversation about how much we value music, and how its weaknesses in the current market (that it’s audio) are actually also its strength in that we sensually experience the world while we listen, and a bond is formed between those things. So initially i wanted to elicit that connection, encourage a moment of reflection while you listen and see if there was a bond. In the end it was so much more than that, it become a process for the participants, it invited people to pause and take a moment and thing. It become a commentary on our relationship with the internet and memories. When do we stop scrolling, why and what can we get from it. So I thought my value aim was sales, in the end it was dms, emotions, long lasting connection and memories. What we do with those connections now will be the next expermint. We have something in common now, we all took part, we all stepped away, and there is a record of that. All those the participants are also not part of the message, their memeories (scenes) are now effecting others, causing them to think, it’s like the people that took part have now created their own prompts , that are impacted a whole new set of people. Continuing the conversation. It’s a living breathing piece of performance art, and in a way it doesn’t have an end, it will continue to affect people and connect them through shared experiences and emotions.
I think of SCENES as performance art; a long-form album release party
Instead of a raucous celebration in a local venue over a few hours, for supporters to hear the music see each other (literally) and share in real time;
SCENES is a thoughtful dialogue online & onchain over a few months, for supporters to hear the music see each other (metaphorically) and share asynchronously.
Each prompt in SCENES created space for listening, introspection, vulnerability, and reflection on each individual's own terms, their own place, their own time.
The cumulative wave of each SCENE, Jamie hand-editing each submission into the greater body of work onchain; is in stark contrast to dry Play & Like counts, metrics of a marketing campaign pitting algorithms vs algorithms.
When I browse through the [SCENES galleries](scenes.soundoffractures.com/scenes), it is something new - something different. It's a glimpse of a new native form of music online & onchain that is conversational, emotional, durable.
buildinginpublic
CHECK OUT SCENES @ scenes.soundoffractures.com/
SCENES
“‘ART’ & ‘CONTENT’ ARE BOTH INTERPRETIVE FRAMEWORKS, AND MUSIC IS NOT ‘ART’ UNLESS WE CHOOSE TO ENGAGE WITH IT AS SUCH. THIS IS NOT ALWAYS AN EASY CHOICE, SINCE EXPERIENCING MUSIC AS ART MEANS MAKING OURSELVES VULNERABLE TO IT. WE GRANT ART ACCESS TO MEMORIES AND EMOTIONS THAT MIGHT BE UPSETTING, INCONVENIENT OR DISRUPTIVE.”
-ART VS. CONTENT BY MATT LEMAY
‘SCENES’ BY SOUND OF FRACTURES IS NOT CONTENT. IT ASKED ME TO SHARE SOMETHING PERSONAL; A TIME I WAS IN LOVE, A PHOTO. THESE ARE PROMPTS THAT NO COMPUTER CAN ANSWER - THEY PULL ON MEMORY, EMOTION & CONNECTION EXPLICITLY AND QUICKLY. GIVING COMPUTER NETWORKS THE ABILITY TO ANSWER PROMPTS IN SEEMINGLY HUMAN WAYS MAY FEEL LIKE A RELATIVELY RECENT PHENOMENON BUT THE INVERSE, CONDITIONING USERS TO HIDE THEIR HUMANITY WHILE NAVIGATING NETWORKS, IS A CENTURIES OLD PROCESS EXACERBATED BY THE TECHNICAL ACHIEVEMENTS THAT WERE SUPPOSED TO BRING US CLOSER TOGETHER. WE ALL EXIST IN OUR OWN SILOED VERSION OF THE INTERNET ALGORITHMICALLY TAILORED IN WAYS WE WILL NEVER FULLY COMPREHEND. DISTRIBUTED NETWORKS ONCE FELT LIKE AN ATTEMPT TO BRING US ALL INTO THE SAME INTEROPERABLE, DECENTRALIZED AND COMMUNITY CONTROLLED ENVIRONMENT.
“THE ROLE OF ARTISTS IS TO BREAK THE MEMETIC UNIVERSES OF THESE PLATFORMS… AND BRING THEM INTO COLLECTIVE CONTROL… APPARATUS WERE INVENTED TO FUNCTION AUTOMATICALLY… THE HUMAN BEING WOULD BE RULED OUT… THIS RIGID AND UNINTENTIONAL FUNCTIONALITY, AUTOMATICITY, IS WHAT NEEDS TO BE MADE THE OBJECT OF CRITICISM.”
-TOWARDS A PHILOSOPHY OF PHOTOGRAPHY BY VILEM FLUSSER
WE ARE AT A PIVOTAL MOMENT IN THE EVOLUTION OF MEDIA ONLINE & ONCHAIN. PLATFORMS THAT ONCE HERALDED ARTISTS ARE PIVOTING TO SUPPORT CREATORS. THE PRICE AND QUALITY OF WORK IS MOVING ACCORDINGLY. THEY CELEBRATE CONTENT INSTEAD OF ART. REPLICATING OLD SYSTEMS IS UNIMAGINATIVE.
SCENES IS POWERFUL. THE MUSIC IS EMOTIONAL, THE IMAGES AND TEXT ARE COMMUNITY SOURCED AND THE PRESENTATION IS BEAUTIFUL. IT’S NOT CONTENT. ITS SOMETHING NEW - SOMETHING DIFFERENT. GO CHECK IT OUT.
I think the emphasis on the SCENES might has distracted or confused people from Collecting the Music side of the project, I only say this because after speaking with Jamie (SOF) I was shocked to hear how many people who loved, championed and backed this wonderful performance art project never collected any of the songs, Including myself, because I honestly thought I already did. I missed the not so obvious detail that there were two options, collect song and collect scene. Because SOF put so much emphasis on the SCENES side of it, I wonder how many people missed collecting the music side like i did. If you're reading this and you also missed it but love this project, please take a few moments to go back and revisit the site to grab the music also <3
This was inspirational to watch unfold. Grateful I was able to witness it up close..
Instead of a raucous celebration
in a local venue
over a few hours,
for supporters to hear the music
see each other (literally)
and share in real time;
SCENES is a thoughtful dialogue
online & onchain
over a few months,
for supporters to hear the music
see each other (metaphorically)
and share asynchronously.
Each prompt in SCENES created space
for listening, introspection, vulnerability, and reflection
on each individual's own terms, their own place, their own time.
The cumulative wave of each SCENE,
Jamie hand-editing each submission into the greater body of work onchain;
is in stark contrast to dry Play & Like counts,
metrics of a marketing campaign pitting algorithms vs algorithms.
When I browse through the [SCENES galleries](scenes.soundoffractures.com/scenes),
it is something new - something different.
It's a glimpse of a new native form of music online & onchain that is
conversational, emotional, durable.