playing on the access grid: what’s of interest to a composer?
DESCRIPTION
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. - PowerPoint PPT PresentationTRANSCRIPT
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playing on the access grid:what’s of interest to a
composer?Demonstrator Workshop
HRI 17 January 2007
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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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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
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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)
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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?
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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
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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)
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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
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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