La mia ricerca artistica si muove nell'interstizio (cfr. Bourriaud 1998) tra due logiche che rappresentano poli opposti: pubblico/privato, professionista/amatore, performer/pubblico. Twitch può, in questo senso, diventare uno spazio latente dove si colloca un potenziale per colmare quelle distanze, ormai per molti versi già annullate dall'ecosistema mediale, ma ancora salde nel panorama istituzionale e nel sistema economico ad esso connesso: un musicista professionista è reso tale dai soldi che guadagna perché un'istituzione investe nella sua musica; se una persona vive grazie ai proventi dello streaming, è una streamer o un'influencer, ma non un musicista inquadrato dall'ambito accademico.
As a social composer, I designate composition strategies that deal with social media or social media-immanent communication models and, from them, generate their material. Does this mean I compose in a social environment rather than an “asocial” desk? More or less. There are two basic approaches to social composing as well as social media art. Both approaches are similar in that they can only arise with the internet and online platforms but differ in their work processes. Both forms also share the idea that this organism of work in or with such communication models is intermedial.
One approach involves compositions that use social media as compositional material where the composition process takes place separately from the source, the digital platforms. What is important, however, is that the composition strategy incorporates social media into intrinsic communication models.2 If this approach brings a social media phenomenon into a coherent musical form, for example, audio distortions from live streams that are mapped musically, the phenomenon of reproduction transmitted audio-visually as a context-detached element, etc., then these are works about social media. Neither operate with communication models so, therefore, do not count as social composing.
In the second approach to social composing, the composition process takes place directly on the social platforms so that dialogue becomes part of the work. Extreme forms culminate in user-generated content such as Bicycle Built For 2000, an audio collage initiated by Aaron Koblin and Daniel Massey who called on Amazons Mechanical Turk Webservice workers from seventy-one countries to re- enact the computer-simulated song Daisy Bell.3 Also, the project Crowdsound by Brendan Ferris is to be located here as a prototype4, in which users determine the course of a song or text by voting. The most prominent representative of social composing in the digital space is the virtual pop diva Hatsune Miku who is kept alive with her fans’ songs and has conquered both social media and real concert halls.
(Brigitta Muntendorf, Social Composing 2015. https://brigitta-muntendorf.de/words/social-composing-2015/)
Partendo da questo testo, e facendo riferimento ad altra bibliografia di natura principalmente sociologica, la pratica artistica che cerco come esito per la mia ricerca è ciò che chiamo Social Performing, sia nel significato di utilizzare le piattaforme come strumento performativo, sia nel senso di una collettività che sfrutti la parziale decostruzione delle gerarchie (ad es. quella tra performer e pubblico) operata dalle piattaforme stesse, per produrre un'esperienza estetica a metà tra il gaming e la musica contemporanea.