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Please use this identifier to cite or link to this item: http://hdl.handle.net/11375/32272
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DC FieldValueLanguage
dc.contributor.advisorOgborn, David-
dc.contributor.authorFranco Briones, Alejandro-
dc.date.accessioned2025-09-02T15:30:16Z-
dc.date.available2025-09-02T15:30:16Z-
dc.date.issued2025-
dc.identifier.urihttp://hdl.handle.net/11375/32272-
dc.description.abstractThis research seeks to understand the role of music-making in environments heavily mediated by digital networked technology. I argue that music can be understood as a practice capable of anticipating shifts in the current mode of production and regimes of representation. Throughout the project, I unravel a form of subjectivity capable of overcoming the convergence of the crises of care, ecology, representational politics, and economy provoked by a capitalist class that consumes the means for its own reproduction and, with it, the means to reproduce life. This project does so by reimagining the arena of networked music as a collective non-commodified place for care and mutual aid. For this work, I have developed a research creation project that includes artwork, a piece of software for music exploration, and a written thesis, with all three components exploring the themes of temporality and crisis as mediated by networked computation and digital technologies. The first artwork discussed is Temazcal 2: a live-coded documentary co-created with Rolando Hernández. In this work we explore ideas about subjectivity and crises connected to the temazcal: both a sweat-lodge of pre-Hispanic origin common in southern and central Mexico as well as a canonic electroacoustic music work. The second artwork is TimekNot: a Domain Specific (Programming) Language designed to express polytemporal musical ideas and instantiate them as triggered audio samples. The third work is La Fábrica Colapsada: a cybernetic opera exploring the relationship between crisis and time as revealed in the stories of the 2017 earthquake of Mexico City. In observing the earthquake from a disaster studies perspective, I argue that the current music creation context can be seen as a disaster, engulfed in crisis, as well. From this perspective, I argue that within the algorithmic networked ensemble, new ways of framing social relations can allow us to imagine a world where many worlds can fit.en_US
dc.language.isoenen_US
dc.subjectnetworked ensembleen_US
dc.subjectcrisisen_US
dc.subjecttemporalityen_US
dc.subjectalgorithmic musicen_US
dc.subjectlive codingen_US
dc.subjectearthquakeen_US
dc.subjectpolitical economy of musicen_US
dc.subjectMexico Cityen_US
dc.titleCrises as Temporality A Critical Reimagination of the Networked Music Ensemble via Live Coding Experimentationen_US
dc.typeThesisen_US
dc.contributor.departmentCommunication and New Mediaen_US
dc.description.degreetypeThesisen_US
dc.description.degreeDoctor of Philosophy (PhD)en_US
Appears in Collections:Open Access Dissertations and Theses

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