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playing on the access grid: what’s of interest to a composer?

playing on the access grid: what’s of interest to a composer?. Demonstrator Workshop HRI 17 January 2007. advantages. life-size view (‘just like being there’) simulate live performance view of body and instrument sense of the room multiple sites reach larger, distributed audience.

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playing on the access grid: what’s of interest to a composer?

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  1. playing on the access grid:what’s of interest to a composer? Demonstrator Workshop HRI 17 January 2007

  2. advantages • life-size view (‘just like being there’) • simulate live performance • view of body and instrument • sense of the room • multiple sites • reach larger, distributed audience

  3. kinds of use • workshops and consultations • solo performer or ensemble - composer/s at different locations (transcending distance: new possibilities for collaboration, low carbon output) • festivals and composer visits • shared across multiple sites (extended audience, added value) • creative stimulus • geometries of virtual space • new location for performance • suggest/evolve new kinds of performance

  4. technical questions • sound quality?? • what kind of control can be achieved over audio and visual parameters? • consistency between sites? • communication in real time between live musicians: • acoustic communication (tuning, balance) • body language (lines of sight, non-visual cues)

  5. aesthetic questions • distance/relative distance? • where is the centre/front? • how does the access grid break down/reconstitute hierarchical structures? • how can spaces be overlaid to simulate virtual presence?

  6. conceiving the geometry of the access grid Jorge Luis Borges: The Library of Babel (an infinite sphere composed of hexagons) • how would it look? • how infinite? • where is its centre? • mirrors • what are the paths through it? • possible permutations/arrangements

  7. creative propositions • playing with distance in virtual space • performing ‘distance’ canon where each successive voice is more distant than the last - simulates infinity • two ensembles at different sites (e.g. UK/NZ) in an antiphonal relationship across space and time zones • close-up duet between like instruments, playing face to face (mirror)

  8. creative propositions • ‘importing’ a performer by video from another space • e.g. an underground tunnel • mixing sonic and visual media/dance • e.g. ‘GPS for a known place’ • mixing live and prerecorded media to create illusions • going with the features and limitations, e.g. latency = non-synchronisation; ‘Babel’ - multiple voices creating ‘chaotic’ effect

  9. conclusion • the access grid affords a fascinating opportunity to investigate space and evolve new modes of musical performance • in order for it to be useful control of audio and visual parameters needs to be established to a satisfactory level of quality • the malleability of the space is limited by fixed cameras and microphones • marriage with performance spaces/outdoor spaces, etc. would greatly increase its creative potential and usefulness to artists

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