(Georgia Institute of Technology, 2010-11-18)
Freeman, Jason
Jason Freeman’s works break down conventional barriers between composers, performers, and listeners, using cutting-edge technology and
unconventional notation to turn audiences and musicians into compositional collaborators. His music has been performed by the American
Composers Orchestra, Speculum Musicae, the So Percussion Group, the Rova Saxophone Quartet, the Nieuw Ensemble, Le Nouvel Ensemble
Moderne, and Evan Ziporyn; and his works have been featured at the Lincoln Center Festival, the Boston CyberArt Festival, 01SJ, and the
Transmediale Festival and featured in the New York Times and on National Public Radio. N.A.G. (Network Auralization for Gnutella) (2003), a
commission from Turbulence.org, was described by Billboard as “…an example of the web’s mind-expanding possibilities.”
(Georgia Institute of Technology, 2009)
Freeman, Jason
This chapter outlines some of the challenges and opportunities associated with storage in networked art. Using comparative analyses of collaborative networked music as a starting point, this chapter explores how networked storage can transform the relationship between composition and improvisation; how it can influence network designs focused on shared material or shared control; how it can actively and autonomously manipulate its own contents; how it can circumvent problems of network latency and facilitate asynchronous collaboration; and how it can exist as a core component of a work’s design without being at the core of every user’s experience.
(Georgia Institute of Technology, 2008-03-04)
Freeman, Jason
Even as social networking, multi-player gaming, and collaborative content creation become increasingly important in our lives, concert musical performance continues to follow a model in which the audience remains passive, with little connection to the composer, to the performers, or to each other. Freeman, an assistant professor in the Music Department, will explore how technology can transform the concert experience by inviting the audience to shape the music as it is performed or by engaging audiences in personalized musical experiences online.