Abstract

Within network music performance, terms are often used as metaphorical and factual descriptors: distributive, collaborative, communicative, rhizomatic, connective, post-structuralist, to name but a few. These idioms offer linguistic and analytical tools through which epistemological underpinnings may be garnered. However, the term nodalism has not been embraced to its fullest potential. Understanding network music systems as nodal, allows concepts to be explored in finer detail, enabling an intersubjective analysis of composers, performers, audience, and aesthetics to appear. Gochenour’s concept of nodal subjects is explored; specifically in relation to participants within network music, as well as the relation the intersubjective self may have on any theoretical impression of networked, or distributed, music systems. Schroeder’s discussions of de-centred being and the augmented sense of self are aligned with nodalism, highlighting the implicative nature of intersubjectivity on network music. The paper will also peruse Christopher Vitale’s concepts of reification and levels of scale, in support of Adkins’ holistic view of nodalism. This will allow nodalism to be seen as a concept that informs the multiple layered stratums that exist within network orientated music systems. The paper’s main foci will be to outline nodalism as a coherent rationale, from ideological, metaphorical, and conceptual standpoints.