A comparison of experimental music collectives of the late 1960s, such as the Scratch Orchestra and the Black Artists Group of St Louis, with Free Software and related art practice.
Both fields can be characterised by the implementation of forms of politically engaged collective production supported through a critical exploration of notation systems (music notation and software code) as a means of disseminating and reflecting upon productive practices. Such approaches can be understood as forms of ’distributive practice’. ’A distributive practice is one in which the knowledge and means of production are distributed as an integral part of that which the practice produces.
The paper will outline this concept through a critical evaluation.