Berlin Wall Of Sound from Harald Walker on Vimeo.

Disonancia Cognitiva_NetaudioFestival_2009 from Meritxell Campos Olivé on Vimeo.

Netaudio Festival Berlin from pixel noizz on Vimeo.

TRIoon – Berlin Wall of Sound (trailer) from Servando Barreiro on Vimeo.

Rafiralfiro – Live @ Net Audio Festival, Berlin, 09/10/09 from rafiralfiro on Vimeo.

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Antina Michels

Netlabels- soziale Netze on- und offline

In ihrer ethnologischen Studie über das Phänomen Netaudio untersucht die Ethnologin Antina Michels, Co-Organisatorin des Netaudio Festivals 2009, auf welche Art und Weise Netaudio produziert werden, wie deren Akteure in lokalen und transnationalen Netzwerken kooperieren und auf welche Weise alternative Modelle zur konventionellen Musikindustrie entstehen können.

Durch die zahlreichen in dieser Pionierarbeit enthaltenen Interview-Passagen, Bilder und Beschreibungen bekommt der Leser einen authentischen Einblick in die Motive und Handlungsweisen der Akteure. Als eine der ersten wissenschaftlich fundierten Studien zum ‘Phänomen Netaudio’ kann dieses Buch als Fundament für weiterführende Untersuchungen im Themenbereich Netlabels und Netaudio empfohlen werden.

>> Zur Publikation

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Antina Michels (ed./ Hg.)

Reviewing Netaudio Festival Berlin 2009

Collection of articles and reports in partly German and English language – divided in four categories: Personal Festival Reports – with contributions from: Fernando Fonseca (PublicSpaces Lab Barcelona), David Domingo (netaudio.es), Marco Donnarumma (University of Edinburgh), and Vinilette (Femelek Festival Barcelona); Ideas around netaudio – with contributions from: Raimund Reintjes (Netaudio Berlin), Bastian Thüne (De:Bug), Andi Studer & Matt Spendlove (Netaudio London), Magali Rossi (LibreCommeLair Montpellier), Jenz Steiner (Blogger and netaudio artist from Berlin) and Konrad Behr (notheen, phonocake, DIY 2.0-Festival Dresden). Academic Articles come from: Patryk Galuszka (Università Di Bologna) and Antina Michels (Netaudio Berlin). Interview Podcasts by netwaves (Podcasting Crew from Leuve).

>> go to anthology

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Jasper Nijsmans

Some Rights Reserved:
Creative Commons in de Belgische muzieksector

After just seven years, Creative Commons is known and used all over the world. The Belgian music scene also has some examples of the adoption of Creative Commons. This paper intends to take a look at the past and present of copyright issues in music, including the birth and development of Creative Commons, with a strong focus on the Belgian musical scene. By linking the history of copyright in music to the case of the Belgian music and netaudio scene through research and interviews, a clear look on the present is intended to be given and some possibilities for the future are uncovered. The paper is Jasper Nijsmans’ dissertation and written in Dutch.

>> go to paper

Conference registration now open! >> register online

The 3rd Free Culture Research Conference: October 8-9, Berlin

Free Culture between Commons and Markets: Approaching the Hybrid Economy?

The Free Culture Research Conference presents a unique opportunity for scholars whose work contributes to the promotion, study or criticism of a Free Culture, to engage with a multidisciplinary group of academic peers and practitioners, identify the most important research opportunities and challenges, and attempt to chart the future of Free Culture. This event builds upon the successful workshop held in 2009 at the Berkman Center for Internet and Society at Harvard University, organized and attended by renowned scholars and research institutions from the US, Europe and Asia. The first event was held in Sapporo, Japan, in 2008, in conjunction with the 4th iCommons Summit. This year’s event is larger in ambition and scope, to provide more time for interaction in joint as well as break-out sessions. It is hosted jointly by the Free University of Berlin and the Max Planck Institute for the Study of Societies and will take place at October 8-9, 2010 at the Free University Campus in Berlin, in collaboration with COMMUNIA, the European Network on the digital public domain and Wikimedia Germany. Funding and support is also provided by the Heinrich Böll Foundation and the Bundeszentrale für politische Bildung.

Given this year’s theme and the generous support of the Free University’s School of Business and Economics, we encourage submissions at the interface of Free Culture and business, although we welcome submissions from any relevant discipline, will be inclusive and will maintain the interdisciplinary nature of the event, as in previous years. Enabled by new Internet technologies and innovative legal solutions, Free Culture prospers in the form of new business models and via commons-based peer production, thereby both challenging and complementing classic market institutions. Alongside business perspectives, we expect that perspectives from law, IT, the social sciences and humanities will help us develop a better understanding of the challenges at hand, for individuals, business, law, the economy, and society at large. Topics of interest include:

- Studies on the use and growth of open/free licensing models
- Critical analyses of the role of Creative Commons or similar models
- The role of  Free Culture in markets, industry, government, or the non-profit sector
- Technical, legal or business solutions towards a hybrid economy
- Incentives, innovation and community dynamics in open collaborative peer production
- Economic models for the sustainability of commons-based production
- The economic value of the public domain
- Business models and the public domain
- Successes and failures of open licensing
- Analyses of policies, court rulings or industry moves that influence the future of Free Culture
- Regional studies of Free Culture with global lessons
- Best practices from open/free licensing, and the application of different business and organizational models by specific communities or individuals
Definitions of openness and freedom for different media types, users and communities
- Broader economic, sociopolitical, legal or cultural implications of Free Culture initiatives and peer production practices
- Methodological concerns in the study of Free Culture

This is the first time the event will be held in Europe, the home of many past supporters and participants of the Free Culture workshops and also home to millions of individual and institutional adopters of open licensing models. We will therefore strive to promote and connect European scholars working in relevant spheres, while also representing the global diversity of the field.

Further information on the submission process, venue and academic committee is provided by the links below.

- Submission Process (including important deadlines)
- Venue
- Organizing Committee
- Academic Program Committee
- Registration

Note

If you have questions about the event, or wish to be kept updated on this and related topics, please subscribe to the commons-research mailing list at: http://lists.ibiblio.org/mailman/listinfo/commons-research

You can then send your emails to commons-research@lists.ibiblio.org and one of the organizers and/or other members of the list will follow up on your query.

The 3rd Free Culture Research Conference is supported by the following institutions:

Your text doesn’t have to necessarily be about the festival directly, you can also compile your thoughts about sub-themes around netaudio or free music, that are important to you and that can be interesting to others as well.

We hope that you can still remember and if possible can write them down in English. Just let Antina (antina (at) netaudioberlin.de) know if you want to contribute, but maybe do not feel so confident with your English as we are sure, we can find a solution (with small messages or an interview if that is all you can put forward).

Drafts should be ready by the end of June 2010.

Now actually, we are working on the publication.

You can read the draft of the table of contents already and you will find the texts shortly under www.netaudioberlin.de/publications

Live and with love,

The Netaudio Berlin Team

“So Berlin happened. Warschauer, Kottbuser Tor, Bitte, Strasse, [iubagand], Len Faki. We had our gig at MIKZ, a very berlin-ish (duh!) club. MIKZ is an impressive industrial warehouse with an impressive industrial sound system. Don?t miss it if you go to Berlin.

We have distributed some 300 Buzz.ro CDs, made new friends and useful connections. We?ve been to Hardwax, Rotation, Spacehall, Melting Point and many other places where Local?s releases will be promoted.

LocalRec.RO Showcase Berlin @ M.I.K.Z / Vlad Caia, Cristi Cons, Inner by Local Records

We traveled a lot, completely avoiding the city center. Did some clubbing, then some working, then some more clubbing. Enjoyed Berlin?s finest Turkish cuisine and hated the fine we got while riding the Ubahn (Sbahn was safer). Then we got back in Bucharest and finally managed to get some sleep. Sound and video after a brief message from our kind sponsor: ?Hands up! This is the ICR!?

Netaudio London will host a conference about

‘The future of music’

at the upcoming Future Everything Festival, this week in Manchester. On 13 May, our London partners present their latest research into current user behaviour and evaluate what is coming next in the field of music facilitated by digital media.

The panel, set up by Netaudio London, consisting of leading practitioners, academics and industry professionals with web, music and public funding backgrounds are presented to comment on the research findings and share their own personal experience on how they use the Internet for making and enjoying music.

Alex McLean, producer of the London nodes of Le Placard and Dorkbot will share his wide ranging experience with technology enabled practitioners and personal insights as a Live Coding artist and computational technology researcher.

John Matthias will reflect on his recent success with the New Music Award winning Fragmented Orchestra project and present current research from the Computer Music Research Centre in Plymouth.

Rachel Baker will comment on how recent developments are reflected by the the Arts Council Digital Opportunity Programme and share her long-standing experience as successful media art practitioner.

Thorsten Sideboard brings first hand insight into all aspects of digital music distribution through his job managing the extensive Last.fm catalog and his experience running the revered Highpoint Lowlife record label.

The panel takes place as part of the FutureEverything conference in Manchester on 13 May 2010, 4pm. It is hosted by Matt Spendlove and Andi Studer of Netaudio London with an introduction given by David Rogerson of Sound and Music. Produced by Cenatus CIC in partnership with Sound and Music, funded by Arts Council England through Grants for the Arts.

Find out more by following the highlighted links – and most important: join’m there! Prompt start at 4 pm.

The Netaudio crew

+ a flat share of 40% of all licensing-money coming in goes directly to the artists and labels ? we have no sympathy for intransparent or disproportionate allocation-keys.

+ Supporting PRIMA.fm is fully compatible with the use of Creative Commons licenses. You only transfer the non-exclusive music-rights for the use for commercial purposes to PRIMA.fm. Therefore, you can still license your music to third parties or give it away for free for non-commercial purposes (i.e. CC BY/NC/ND).

+ Besides an opportunity to earn money with music, PRIMA.fm also offers musicians and labels a chance to promote and spread their music throughout the world within non-web contexts.

You might follow the link to www.prima.fm to obtain more information on how to create your own account at PRIMA.fm and to upload your music.

PRIMA Information
info@prima.fm
www.prima.fm

PRIMA.fm - Play it smart.

Mittlerweile hat es sich wohl nicht nur in den Kreisen der Avantgarde-Elektroniker, sondern auch bis zu jenen, die gern einfach mal so in den Club gehen, um einen schönen Abend zu verleben, herumgesprochen: Neben Minimal, TechHouse, Dubstep ist es insbesondere die sog. “Intelligent Dance Music”, die den richtig frischen Wind bringt…

Auf solche konzentriert ist das Netlabel CRAZY LANGUAGE, dessen primäre Intention es ist, neue und intelligente Tanzmusik und futuristisch strukturierte Tracks sowie wunderschön klingende ambienthafte Epen bis hin zu kratzigen 8-Bit-Sounds und Glitch digital zu veröffentlichen. Und all das wird auch noch zum kostenlosen Download angeboten.

Das Label entstand aus der spontanen Idee eine Plattform für die Musik befreundeter Künstler einzurichten, die sich mit alternativer Klubmusik, Ambient und Eletronica beschäftigen und ist mittlerweile ein Netzwerk geworden, das internationale High-Tech Musiker und visuelle Künstler verknüpft, einen kreativen Austausch bietet und darüber hinaus auch für die Berliner Elektronikkultur ein (Under)Statement fixiert.

Bei der Crazy Language Labelnacht am 31.03. in der Berghain Kantine präsentiert das Netlabel im Rahmen von KILLEKILL eine feine Auswahl seiner aus Europa stammenden Artists, die in seinem nunmehr 4jährigen Bestehen wegweisende Veröffentlichungen erreichten. Ein besonderer Abend mit Videoprojektion und erstaunlich einnehmendem Sound für Hirn, Herz und Beine.

Anfangs wird es einige Kurzfilme und Musikvideos auf der Großbildleinwand geben, um den musikalischen Abend schon mal gemütlich einzuleiten.

Rec_Overflow ist bekannt für Hip Hop influenced IDM/Electronica, die auch in die Beine geht und man hat Spaß, ihm bei seinem Liveset zuzusehen. Er ist immer gut drin in der Musik.

Atmogat sollten zumindest einigen bekannt sein. In Berlin haben sie schon einige Partys bespielt und werden für etwas düsteren minimalen Electronica Sound sorgen, der nicht nur die Synapsen stimuliert.

Jfrank’s Musik lässt sich nicht in ein Genre stecken. Es geht mal durch ein paar Breaks und dann wieder gerade technoide Rhythmen, die von glitchigen und manchmal acidlastigen Sounds umgeben werden. Da ist auf jeden Fall Abfahrt angesagt!

XZICD ist musikalisch auch sehr vielseitig, wie seine Releases auf Crazy Language zeigen. Für diesen Abend bereitet er ein spezielles Set vor, in dem es eine kleine Vorschau auf sein kommendes Album geben wird, welches back to the roots IDM mit klassischen Synths und modernen Drum Patterns verbindet.

Die beiden Netlabel Gründer Shrotty (Huron) und Weedbeat (Axiom) werden ihre Platten mitbringen und bunt gemischte elektronische Musik wie IDM, Electronica, Electro, Dubstep … spielen.

Und weil das Auge auch mithört, haben wir noch 2 Spezialisten – Sarge GrafX und Lasal – die die Berghain Kantine in ein passendes visuelles Bild setzen. Ihr dürft gespannt sein!

Line Up:

Rec_Overflow (es) ? live
Atmogat (de) ? live
Jfrank (uk) ? live
XZICD (pt) ? live
Shrotty aka Huron (de) ? dj
Weedbeat aka Axiom (de) ? dj
Sarge GrafX (de) ? visuals
Lasal (es) ? visuals

31.03.2010
Berghain Kantine
(Am Wriezener Bahnhof)
Start: 21:00 (Videopräsentation)

Dabei sind (DnB)Tonmischer, seines Zeichens Resident der Berliner DrumFlakes Parties mit Drum’n'Bass sowie Janoshi, Mitorganisatorin der Audio Massive Veranstaltungen. Sie blickt auf einen langen Weg vom Drum’n'Bass zum Dubstep – und ist trotzdem nicht gefeit, ihr Herz an das Berliner Netlabel  Crazy Language zu verlieren. Den Liveact des Abends liefert Dubstep-Master Pisu vom Musica Vermella Netlabel aus Barcelona. Im Anschluss folgt gegen 04 Uhr Kid Atari vom Stealth Departement mit einer härteren Mischung aus Dubstep & Drum’n'Bass – mit sicherlich so manchem Ausflug in benachbarte Gefilde. Den Abschluss macht Flowpro, seines Zeichens Mastermind des Pionier-Netlabels Plainaudio.

Für die Veranstaltungen haben wir  5 Freitickets: Wer vorbeikommen will, schickt eine Mail an netaudio@raw-tempel.de mit einem selbstgewähltem Nickname und dem Veranstaltungsnamen. Ihr erfahrt dann, ob ihr kostenlos dabei sein könnt…