![]() Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. The analysis cycle consisted of (a) using corpus analysis techniques to reveal patterns of discourse across and within data consisting of 10,892,645 words, and (b) using discourse analysis techniques for a close reading of revealed patterns. Three research questions guided this study: (1) What chiptune-related practices did members of discuss between December 30th, 2009 and November 13th, 2017? (2) What do discussion forum posts reveal about the multidisciplinary aspects of chiptunes? (3) What import might music-centered making evident within discussion forum posts hold for music education? To address these research questions, I engaged in corpus-assisted discourse analysis tools and techniques to reveal and analyze patterns of discourse within 245,098 discussion forum posts within. This study examined discussion forum posts within a website dedicated to a medium and genre of music (chiptunes) with potential for music-centered making, a phrase I use to describe maker culture practices that revolve around music-related purposes. Furthermore, PLAYLIST will try to provide a context for this kind of research, not necessarily game related, selecting seminal projects and artists that helped forging the conceptual frame in which retro-gaming took place. Thus, PLAYLIST will serve as a starting point for an archive / collection of materials produced by artists and musicians, and as a relational context where visitors can practice with tools produced by artists, and take part in workshops, lectures, improvised performances. For the first time, retro-gaming will be explored through the lens of musical production and distribution, displaying not only tracks, but instruments, tools, softwares and hardwares, skins and graphics, but also discographies, platforms and communities. The show will demonstrate that the retrogaming phenomenon in visual arts can be considered an outfit of a pretty musical phenomenon, that in a bunch of years spread out all over the world through festivals and clubs, occasionally influencing mainstream musicians and that visual and musical research progressed on parallel paths, in the quest for lo-res sounds and aesthetics, synthetic colors and notes. The core of PLAYLIST will be the exploration of the “8bit movement”, spread out from the manipulation of obsolete game technologies in order to create new instruments to play music. It’s our feeling, on the one hand, that electronic music culture has been of great importance for the development of low-tech, home-based media art and, on the other hand, that – such as for the early Video Art – the manipulation of the digital stream is mainly grounded in musical research. PLAYLIST is an exhibition that wants to explore the role played by music in the adoption and manipulation, since the mid Nineties, of obsolete, digital as well as analogue, technologies: vinyls, old computers, game platforms and alikes. And at the very beginning of Video Art lies the manipulation of the electronic signal, first experimented by Nam June Paik in music. ![]() It was thinking to music that Umberto Eco first introduced the concept of “opera aperta”. Furthermore, Fluxus adopted music notation for its peculiar “scores”. The very first performance (the Untitled Event at Black Mountain College in 1952) was a musical event, such as many Fluxus events during the Sixties. John Cage was a musician working with artists and engineers. Without forgetting the role played by music in the development of abstract art, it was mainly during the Sixties that music provided a fertile ground for new approaches, new theories, new art forms, new aesthetics. Along the Twentieth Century, music has often been the driving force behind crucial innovations in visual arts, and the starting point for many artists.
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