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

9
playing on the access grid: what’s of interest to a composer? Demonstrator Workshop HRI 17 January 2007

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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 Presentation

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Page 1: 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

Page 2: playing on the access grid: what’s of interest to a composer?

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

Page 3: playing on the access grid: what’s of interest to a composer?

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

Page 4: playing on the access grid: what’s of interest to a composer?

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)

Page 5: playing on the access grid: what’s of interest to a composer?

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?

Page 6: playing on the access grid: what’s of interest to a composer?

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

Page 7: playing on the access grid: what’s of interest to a composer?

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)

Page 8: playing on the access grid: what’s of interest to a composer?

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

Page 9: playing on the access grid: what’s of interest to a composer?

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