This distinction, however, does not provide much information in terms of aesthetic genres, and we firmly refuse to permit academic criteria to determine access to resources. An educational program is in place that offers courses in the use of various computer programs, as well as more theoretical aspects within signal processing, acoustics, mathematics and physics. Further, international exposure has enabled NoTAM to initiate a program for composers in residence, and we are collaborating in the structuring of a Masters' program in electroacoustic music at the University of Oslo. In addition, we are developing Internet-based courses that will be offered throughout Scandinavia, and are investigating the possibility of establishing a common Scandinavian educational degree program within electroacoustic music. NoTAM recognizes the need to mediate the use of technology, which in itself encourages new ways of shaping the creative impulse.
New music is thus advanced when a more accepting attitude towards technology is adopted.
It is equally important to participate in the development of the technology, as to avoid becoming solely a consumer. New technology is placed on our plate faster than we are able to shovel it down, and playing with our food is the most important approach to making it our own. It is not my intention to state that this kind of challenge is necessary for all milieus around the planet, but it has certainly proven to be useful in the building of our musical environment in Norway. Through the interest in other disciplines, and in considering possible digital bridges to the visual arts, for example, NoTAM has encouraged performance- and other stage artists, as well as visual artists, to use the resources available on the network. We also provide assistance in the construction of similar resources in other countries.