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Journal articles on the topic 'Telematic music performance'

Author: Grafiati
Published: 9 January 2025

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1

Strauss, Lucy, Kivanç Tatar, and Sumalgy Nuro. "instance: Soma-based multi-user interaction design for the telematic sonic arts." Organised Sound 26, no. 3 (December 2021): 390–402. http://dx.doi.org/10.1017/s1355771821000479.

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The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.
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2

Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (March 5, 2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.

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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.
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3

Egloff, Deborah, Jonas Braasch, Phil Robinson, Doug Van Nort, Pauline Oliveros, and Ted Krueger. "Vibrotactile music systems for co-located and telematic performance." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3331. http://dx.doi.org/10.1121/1.4708466.

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4

Rofe, Michael, Erik Geelhoed, and Laura Hodsdon. "Experiencing Online Orchestra: Communities, connections and music-making through telematic performance." Journal of Music, Technology and Education 10, no. 2 (December 1, 2017): 257–75. http://dx.doi.org/10.1386/jmte.10.2-3.257_1.

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5

Mott, Iain. "Telefonista." Voz e Cena 1, no. 02 (December 3, 2020): 83–103. http://dx.doi.org/10.26512/vozcen.v1i02.34032.

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This article describes a communications system for telematic performance developed during the COVID-19 pandemic of 2020. Taking the form of an antique telephone switchboard, the system is designed specifically for a solo performer to interact with voice recordings, music and sound synthesis mechanisms and engage with local and remote audiences via telephone.
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6

Mills, Roger. "Flight of the Sea Swallow: A Crossreality Telematic Performance." Leonardo 49, no. 1 (February 2016): 68–69. http://dx.doi.org/10.1162/leon_a_01166.

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Flight of the Sea Swallow is a cross-reality telematic performance project developed by the multimedia group blackhole factory. Live data from distributed heat, light and movement sensors is visualised within the virtual and real-world performance spaces, with the aim of increasing tele-presence for performers and audiences. This article describes the background of the project, as well as its design and implementation over several iterative performances.
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7

Rubio R., Juan David. "Ritualized Performance in the Networked Era: Alternative Models for New Artistic Media." Leonardo Music Journal 24 (December 2014): 21–23. http://dx.doi.org/10.1162/lmj_a_00190.

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The author presents a concept of ritualized performance as an ideal way to approach the telematic medium, arguing that many longstanding performance rituals share characteristics that can be exploited in networked performance. The author situates these ideas in relation to his project Spatia, seeking to illustrate how the model of ritualized performance can be applied to the networked medium.
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8

Burtner, Matthew, Steven Kemper, and David Topper. "Network Socio-Synthesis and Emergence in NOMADS." Organised Sound 17, no. 1 (February 14, 2012): 45–55. http://dx.doi.org/10.1017/s1355771811000501.

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NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands of simultaneous users across a network is synthesised into a single emergent sound and visual structure in an approach we call socio-synthesis. This paper recounts research leading up to NOMADS, outlines its technological architecture, and describes several implementations. Current applications include the telematic operaAuksalaq, and performances by the MICE Orchestra. The authors also consider the potential of large-scale human–computer ensembles as a paradigm for composition and performance.
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9

Giges, Bob, and Edward C. Warburton. "From Router to Front Row: Lubricious Transfer and the Aesthetics of Telematic Performance." Leonardo 43, no. 1 (February 2010): 24–32. http://dx.doi.org/10.1162/leon.2010.43.1.24.

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This article describes experiments in live telematic performance linking U.S. East and West Coast dancers via Internet2. Alternating between a first-person account of one particular stage performance and a theoretical exploration of the same, the authors come to terms with the audiences' newly constituted relationship as technological ruptures alter the immersive pull of live performance.
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10

Dessen, Michael. "New Polyphonies: Score Streams, Improvisation and Telepresence." Leonardo Music Journal 20 (December 2010): 21–23. http://dx.doi.org/10.1162/lmj_a_00007.

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The author discusses “score streams,” a compositional method in which notations are displayed dynamically on computer screens and interpreted by improvisers. These works are informed by contemporary explorations in telematic performance and by the many methods devised over the past half century in composer-improviser traditions, where works by individuals are understood as catalysts for profoundly collaborative real-time acts of creation. Referencing polyphony both literally and metaphorically, the author points to a richly generative dialogue between recent histories of improvised music and new forms of digital networking technologies.
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11

Gingrich, Oliver, Alain Renaud, and Eugenia Emets. "KIMA - A Holographic Telepresence Environment Based on Cymatic Principles." Leonardo 46, no. 4 (August 2013): 332–43. http://dx.doi.org/10.1162/leon_a_00604.

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KIMA is a holographic surround-sound installation that visualizes telepresence as both a phonetic and a synaesthetic phenomenon. The performance piece is based on the physical conditions of cymatics-the study of physically visible sound wave patterns. Two environments, a quad surround and a holographic interface, build the framework of a telematic experience that illustrates communication as wave forms while focusing on the relationship between sound and matter.
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12

Dansereau, Donald G., Nathan Brock, and Jeremy R. Cooperstock. "Predicting an Orchestral Conductor's Baton Movements Using Machine Learning." Computer Music Journal 37, no. 2 (June 2013): 28–45. http://dx.doi.org/10.1162/comj_a_00173.

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Telematic musical performance, in which performers at two or more sites collaborate via networked audio and video, suffers significantly from latency. In the extreme case, performers at all sites slow to match their delayed counterparts, resulting in a steadily decreasing tempo. Introducing video of a conductor does not immediately solve the problem, as conductor video is also subjected to network latencies. This article lays the groundwork for an alternative approach to mitigating the effects of latency in distributed orchestral performances, based on generation of a predicted version of the conductor's baton trajectory. The prediction step is the most fundamental problem in this scheme, for which we propose the use of conventional machine learning techniques. Specifically, we demonstrate a particle filter and an extended Kalman filter that each track the location of the baton's tip and predict it multiple beats into the future; we compare these with a conventional feature-based method. We also describe a generic two-part framework that prescribes the incorporation of rehearsal data into a probabilistic model, which is then adapted during live performance. Finally, we suggest a framework and experimental methodology for establishing perceptually based metrics for predicted baton paths. Note that the perceptual efficacy of the presented methods requires experimental confirmation beyond the scope of this article.
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13

Gingrich, Oliver, Alain Renaud, Eugenia Emets, and Zhidong Xiao. "Transmission: A Telepresence Interface for Neural and Kinetic Interaction." Leonardo 47, no. 4 (August 2014): 375–85. http://dx.doi.org/10.1162/leon_a_00843.

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Transmission is both a telepresence performance and a research project. As a real-time visualization tool, Transmission creates alternate representations of neural activity through sound and vision, investigating the effect of interaction on human consciousness. As a sonification project, it creates an immersive experience for two users: a soundscape created by the human mind and the influence of kinetic interaction. An electroencephalographic (EEG) headset interprets a user’s neural activity. An Open Sound Control (OSC) script then translates this data into a real-time particle stream and sound environment at one end. A second user in a remote location modifies this stream in real time through body movement. Together they become a telematic musical interface-communicating through visual and sonic representation of their interactions.
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14

Chabot, Samuel. "Spatialized sound reproduction for telematic music performances in an immersive virtual environment." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3292. http://dx.doi.org/10.1121/1.4970468.

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15

Papadomanolaki, Maria. "Telematic Sound Body: A trajectory of intimacy and defiance." Organised Sound 26, no. 3 (December 2021): 317–26. http://dx.doi.org/10.1017/s1355771821000406.

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This article reflects on telematic soundwalking by initially considering the network as it is experienced in response to the COVID-19 pandemic. It uses learnings and writings about our networked lives (during COVID) to generate a framework in order to understand the artist’s pre-pandemic work; more specifically, in the context of a series of telematic soundwalking performances titled A Certain Geography, of which two case studies are presented here. The network is analysed through a diverse and cross-disciplinary selection of ideas and writings on networked cultures, experimental radio, listening, philosophy, anthropology and urban design. This cluster of diverse theoretical notions become important for the creation of a type of networked listening where the authorship of I often collapses into a polyphonic intimacy of voices and soundings affected by all that is taking place in between, including the distortions created by the materiality of technologies, the different layers of ecologies at stake, the words and voices of those who sound and listen remotely and site-specifically. It proposes an incomplete reception loop where the aspiration of walking on a planned trajectory is constantly contested and destabilised. The network becomes a porous space where the I constantly morphs into a convivial-collective action.
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16

Gurevich, Michael, Luke Dahl, John Granzow, Adam G. Schmidt, and Matias A. Vilaplana Stark. "(Dis)Embodied mechatronic displays for telematic music performance." Journal of New Music Research, December 24, 2024, 1–17. https://doi.org/10.1080/09298215.2024.2442357.

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17

Andersen, Drake. "Spaces for People: Technology, improvisation and social interaction in the music of Pauline Oliveros." Organised Sound, February 9, 2022, 1–8. http://dx.doi.org/10.1017/s1355771822000073.

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The composer Pauline Oliveros emphasised that her music was a by-product of a larger humanistic project aimed at raising awareness and sensitivity through social interaction and community-building. In this article, I highlight the role of technology in facilitating social interaction in improvisatory contexts by considering three examples that span Oliveros’s career: the composition In Memoriam: Nikola Tesla, Cosmic Engineer; her telematic performances; and the Adaptive Use Musical Instrument (AUMI) project. In each of these examples, technological mediation transforms musical and social interaction in unpredictable ways, presenting obstacles that require participants to work cooperatively to resolve them. This intensification of Oliveros’s larger project is considered through several complementary theoretical frameworks, including Don Ihde’s theory of technological mediation, Daniel Belgrad’s concept of deutero-learning in improvisation and Georgina Born’s orders of social mediation in music. By deploying technology in visible – rather than invisible – ways, and by inviting participants to adapt to and even embrace unexpected elements that might otherwise be regarded as limitations, Oliveros’s work reveals how technology can simultaneously be understood as an affordance for music-making and an extension of a deeply social and community-oriented endeavour.
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