Remaking Classical Music: Cultures of Creativity inPleasure Garden

Abstract

Taking its theoretical orientation from Sherry Ortner's distinction between ‘power’ and ‘projects’, this article considers the relationship between local artistic projects and the cultures in which they participate. I focus on Pleasure Garden, a collaborative project that spans site-specific installations, concerts and an album. Exploring a wide range of issues at stake in the creative process, including collaboration, gender, aesthetics, colonialism, the work concept, and commodification, I trace how Pleasure Garden’s creators variously reproduced and reworked dominant conventions, while at the same time pursuing their own distinctive commitments. Through this, I argue that Pleasure Garden’s creators negotiated a space that was inside, yet sometimes out of alignment with what I call the ‘cultures of creativity’ associated with Western art music, the music industries, late capitalism, and neoliberalism. This highlights both the powerful forces affecting musicians today and the possibilities for making things otherwise.

Automatic Computer Composition for Piano Music via Deep Learning and Blockchain Technology

“…In the current work, music sequences are generated using the LSTM network because music is a type of time order. A unique temporal memory function is present in the LSTM network [24,25]. A horizontal link between the units of the hidden layer is added based on the standard multi-layer backpropagation neural network (BPNN).…”

Music Composition and Emotion Recognition Using Big Data Technology and Neural Network Algorithm

“…Consequently, a new NN algorithm, namely, ANN, is proposed from the perspective of NN signal processing. The model is abstract and can be mapped to form different NN models using different functions [ 17 ].…”

Meeting the Garden Halfway: Ethnographic Encounters with a Sound Installation Microculture

“…But more than this, we might see such interventions not as the exclusive prerogative of humans but as a collective endeavor, part of the world's moment-to-moment engagement with itself. One implication of this is to decenter the creative team and disperse creativity across all the diversity that made up Pleasure Garden (Browning 2017). Knowledge practices were not exclusive to people; instead, deciding what "counted" was a responsibility shared, unevenly, with the interactive system and the intelligible interventions of nonhumans.…”