This paper proposes to reflect on the production of experimental electronic music mediated by mobile devices. The definition of Mobile Music is somewhat vague; among different classifications – which could be considered more open or closed characterizations of the genre – we can find something in common: the significance of movement, or the willingness of displacement. The release of corporate mobile devices at the end of the last decade, such as smartphones and tablets, caused a drastic change in the perspectives within the genre: artists and researchers started to give much more attention to objects of consumption, rather than situations in which mobile sound could be experienced. Having this turning point in mind we could consider that Mobile Music started working much closer to the market logic and became more dependent on it, due to the adoption of commercial devices as well as researchers interested in developing new products. Thus, in this text we speculate about other alternatives to practices of Mobile Music, which could be somehow considered more critical.
Copy and paste this URL into your WordPress site to embed
Copy and paste this code into your site to embed