“If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code? The return to improvisation in ‘livecoding’ draws parallels with experimental practices developed by maverick musicians, programmers and educators from Sun Ra, The Art Ensemble of Chicago and the Scratch Orchestra to Seymour Papert. Simon Yuill argues that these ‘distributive practices’ are worth extending today.

In recent years the foregrounding of ‘collaboration’ in artistic practice has acquired an aura of inherent benevolence and emancipation, as though the very act of working with others in itself ensures some form of resistance or alternative to conventions of cultural production, and confers positive moral value. The recent valorisation of collaboration within the arts, however, merely elides the basic condition of collaboration that all forms of production ultimately rely on in various degrees and arrangements. This can be seen as one part of the larger growth in service and communications industries whose ‘labour’ and ‘produce’ are primarily invested in the structuring and intensification of various collaborative exchanges, often minute and ephemeral, yet, when harvested on a vast scale, capable of generating seemingly endless amounts of surplus value.[1] Collaboration in the production of this ’surplus’ now extends beyond the contracted employees into the consumers themselves, who help define and create the products they themselves consume. This is exemplified in the proliferation of highly ‘personalised’ products and services, reality entertainment, and the social networks of Web 2.0, with the virtual world of Second Life notably combining all three factors.[2] Those artforms which most consciously valorise collaboration, as described in Bourriaud’s Relational Aesthetics, merely echo this situation.[3] The social relations constructed by the artist in gestures of collaboration with audiences and others become spectacularised and commodified in forms that often do not return to those who created them but rather become tokens within the circulation of the art market.[4] In a funding system that prioritises social inclusion within the arts, like that of the UK, collaborative projects can tick the box that unlocks the piggy-bank of state patronage. In such contexts collaboration quickly becomes little more than a revenue stream.[5] Similarly, the rise of Relational Aesthetics accompanied the embrace of artistic practice by the commercial sector, often drawing upon the strategies of such art to enhance collaboration and ‘creativity’ within the workplace.[6]…” Continue reading All Problems of Notation Will be Solved by the Masses by Simon Yuill, Mute Magazine.