Micromusic was initiated in November 98 by Gino Esposto and Michael Burkhardt under the codename “futurelab”. After project development and programming, it was finally put on the net in August 1999.

What was originally intended to be a simple tool for low_tech_producers to generate low_tech_music for those who enjoy computer-generated music via the World Wide Web, quickly evolved into a highly complex websound_community_system, with its implemented functions researched and designed using state-of-the-art technology.

In principle, “research” is probably the most appropriate term for the activity that proceeds from micromusic. Although the music produced on consumer PCs is the central theme of micromedia, it involves far more than that. The Internet (in the form as we know it today) is still just at the beginning. The task that micromusic has set for itself is to pursue such questions as how special interest communities may be developed, for instance, or the forms in which communication can take place, what a (perfect?) interface contains (to enable interaction and real-time communication and make audiovisual content consumable). Human perception (including that of the designers!) and audiovisual awareness are currently in the midst of further development.

Since micromusic generates content via the users and assumes the functions of filtering/treatment/moderating/presentation, communication is the primary focus, when it is a matter of building up and maintaining a community. In addition to conventional communication through e-mail (newsletter), there is a microtalkTM function on the homepage, which allows for mutual exchange among the guests. Another function (the “microliner”) enables the placement of remarks/statements, which become immediately accessible to the community.

Based on familiar computer games, the interface is designed in such a way that users can influence their microlevel. An individual user's respective level depends on whether the user has actively participated in the further development of the system. For instance, if a user succeeds in having his music accepted by the quality_filter_system (a system that serves to ensure the quality of the content that is introduced), his microlevel is raised by a corresponding number of points. People involved in networking for micromusic or who take action in some other form for micromusic raise their microlevel. This is rewarded by an increase in permissions at the system level. In this way, it is possible to mutate from a user/nerd to a micromusiccrew member.

In less than two years, micromusic has succeeded in programming a multimedia interface that is unique on the WWW. An active community of nearly 3500 users has been built up, and the quality of the soundtracks submitted by the users has meanwhile reached a level that has not otherwise been attained in this field. The fact that the success of this project is due entirely to the dedication of talented computer freaks and multimedia artists gives us great pleasure. That results of this kind are even possible exclusively via networking even surprised us.


Links: http://www.micromusic.net

Gino Esposto (CH), CEO, project managment, coding. Bon 1973, studied in Manchester. Co-founder of Etoy. Concept and Realization of "Microstation" for the Computer Game Exhibition "Game Over", Museum für Gestaltung in Zürich.

Michael Burkhardt (CH), Word, Sound, Communication. Born 1966. School for Experimental Design and New Media Zürich. Member of various free Jazz/Hardcore Bands and Live Acts in Switzerland and Germany.

Paco Manzanares (CH), Art Director, Visual Design. Born 1962, trained as Typesetter. Member of the industrial noise bands "mini pop band" and "vanda hamma", oraganization of warehouse parties. Active since 2000 as art director for micromusic.net.