>> There are some features in the case study for
this entire section that are actually overarching.
They apply to pretty much every case study, and
that is because of the medium of the net, right, since we're focusing on that.
So before we go into each case study, we thought it's good to provide that analysis
for all of the ones that we're presenting, since they share that.
And that way you can just keep those in your head, and in future cases,
we'll just highlight what is unique about that particular case study.
So, what happens with the sound and
music over the net that is very specific to it, but is overarching.
First thing, may sound obvious but it actually isn't, and
it's the idea that remember perspectives, the intimate, the local and the global.
>> In many of our other case studies from previous weeks,
we dealt with the local and the intimate.
But actually it was relatively difficult to find examples of the global.
In this week and all of the net art, or
net music case studies, the global is basically inherent.
>> Right. >> It's by definition by existing on
the net, even in closed and private networks, it is a global option, right?
>> Right. >> And so
that's one very important common feature.
>> Right, and the other very interesting thing about it is that, because it's on
demand and you can listen to it, at least the listener got by listening and
by using this material the way you might want.
Like to have it less loud, you want to have it more, the whole building
should listen to it and I'm just interest in listen to the first three seconds,
you might be interested in listening to the last minute.
And I like to play her over and over again, and
you only want to listen one time.
So, the listener is, in fact,
over remastering, plundering the net, like John Oswald did previously.
And become, actually the composer,
the re-arranger of the material that is provided by the net.
>> So the control of the timeframe of the listener becomes almost like the control
of the composer.
>> Right.
>> And just to lastly point out that
the material frame of net art is incredibly challenging, right?
If we're always constantly thinking of the entirety of the net as the material frame,
it can become quite, well technically that is accurate.
It can become quite difficult to understand specific practices.
So, when you think of the material frame of the net,
it is very important to focus it and narrow it down,
which aspects of the material frame are at play in that particular project?
>> Right. >> The second case study
we want to talk about is that of the Nebula.M81.
That's a group that invented, or wrote,
software called the same way, Nebula.M81,
which is a free download, with which you can open