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The concept of Networks has become key in modern society, reflecting new understanding of a world that has grown more and more complex. Rather than a metaphor for describing a phenomenon, networks help us understand that we can no longer describe things and events in isolation. We live, act, create in an interconnected world, where each new element contributes to a complex of changes and effects that expand beyond the apparent causes and predictable consequences of our actions.
The collection of contributions in this issue of ECHO aims to navigate the variety of work that has been, and continues to be, inspired by different aspects of the notion of Networks: Fernando Rosas and Vaiva Vasiliauskaitė provide a gentle bed of scientific terminology where we can situate and better understand how we can apply the notion of networks to compositional and performative strategies (Juan Parra, David Rosenboom), find ways to creatively connect to our social, historical and geographical environment (Mollie Ables, Ann Warde) or situate our creative work through the network of organological and telematic contexts (Chris Chafe, Ben Neill). We have also included an historical account of a pioneering instance of Networks principles applied to the organisation of collective creativity (Nic Collins).
In music, like in any other human discipline, the use of networks as a generative concept has multiple connotations. From the telematic to the social, from compositional structures to the interconnectedness of musical actions, this issue of ECHO aims to reflect the multifaceted applications of the term, shed some light on the commonalities between different uses, and contribute to the larger discourse of Networks in society and complexity science, from the unique perspective of artistic research.
Juan Parra Cancino
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