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NowNetArts 2018

The following sections are Otto J Wittner's notes from presentations and demos at the conference.

Campus network overview

  • 100G ot Internet2 and 20G to “commodity” Internet
  • 10G fibers to rooms
  • 100G within building (!?)
  • 10G out from building
  • Nicer-net provide backbone in NY state, peers with Internet2
  • Public load diagrams: https://status.noc.stonybrook.edu

The NTNU-UNINETT gays...

  • Excellent presentation.

Strategies for exploiting unstable networks

  • Rebekah Wilson
  • Background: STEIM Amsterdam, Chicago, now New Zealand
  • Can't play music together on commodity Internet
    • Can play, but not synchronously
  • WebRTC applied for music experimentation
  • Can't play old kinds of music, but can play new
  • Locations are out of sync ⇒ experiences at the different locations will be different
  • New instruments based on classical ones (e.g. pianos) may be constructed when interconnecting them via networks
    • E.g. two pianos going in and out of tune
  • Composer need to write music which is “allowed” to sound different each time it is played
  • The digital tools do not need to be hidden / transparent.
  • Adding selected “drop-out-sounds” to the audo stream too make packet drops more audible.
  • (Technical problems during demo, but webrtc was to be used.)

Through a Window: Networked music composition

  • Naithan Bosse (PhD candidate)
  • iPad app for processing / management
  • A lot of tools applied in composition, e.g. ping and traceroute output mapped to produce chords and sounds
  • Stopwatch applied as conductor supplement
  • Synch opportunities added frequently in music score
  • One anchor musician (master clock)
  • Composition performed in 3 site setup, theater, “wet” studio and “dry” studio
    • Audience in all locations, surrounded by speakers
    • Noe video between sites applied, intentionally
    • Immersive experiences created (via surround effects)

SpinStack

  • Michael Richison
  • A composition installation based on two turntables
    • Infraread sensors detect distance to spining stack of slices of shaped cardboard
    • A percussion machine is controlled by the turntable speed and the sensors
    • Projectors project graphics onto the slices

Evaluation of Network Music Technology

  • Chris Chafe, Trever Henthorn, Sarah Weaver
  • Jacktrip origin
    • A sw packages to connect three sights running the Jack sound server sw, hence Jack-triple or Jacktrip
  • Measurements showing jitter issues with different network connections
    • Wifi show up as rather messy ⇒ wires still recommended to keep losses low
  • What to replace lost packets with?
    • Jacktrip applies zeroes of a copy of last packet (waveform mode)
    • Should there be many small glitches or few larger ones…?
    • Clock drift between peers a problem not at all solved

Spirits of Water

  • Yoon Jeong Heo, Hilary Finchum-Sung
  • Korean Music across the Globe
  • Traditional Korean instruments and music
  • Historical info, north v.s. south …

Jamming in the 3rd room, Virtual real-time recording

  • Paul Ferguson et al
  • Intro to Lola
  • Lola a tool to enable real-time recording for studios
    • Instead of todays practice moving audio files between remote musician and studio
  • “3rd room” meaning the virtual room created by Lola rigg and the network
    • What are the musical rules to play in such rooms?
  • Gareth Dylan Smith (drummer) experienced a feeling of improved audio quality when video resolution was increased during a Lola session.
  • Quality of Lola audio stream is good enough for playing together, but not for recording
  • Funky demo with drums (local) and sax (remote from Edinburgh)
    • Almost in sync, no doubt two musicians playing together
    • But mix of live audio from drums and PA only audi from sax made experience for audience lesser
  • Success with synced recordings one both peers combined with Lola as “cue”-stream for musicians
    • When recordings stop they are pushed and shared in cloud storage

Music without borders and MIRCO

  • Maria Minaricova, Paolo Girol, Kristina Lillemets
  • Geant expansion eastwards in Europe
  • Services: Eduroam, EduGain, Prefsonar, Lola as a service (!)
  • Lola as a service includes equipment and support in getting nodes operative
  • Lola sessions to GARR (Claudio) and Estonia
  • Samples of misc master classes for classical music

Survey paper on net music tools for music production ?

  • Rebekah Wilson, source-elements.com
  • Ref:
    • Gabrielli & Squartini “Wireless network music performence”

Keynote: Ann Doyle

  • Walk trough of Internet2's number and basics
  • Services
    • InCommon (ref eduGain)
    • eduRoam
  • Historical walk through of networked performing arts work 2000-2018

Online jamming and concert technology, an online course

  • Chris Chafe
  • Online 6 weeks course teaching Jacktrip, offered by Standford (?)
    • Kandenze MOC
  • Internet acoustics (for network reverbe)
    • Even though audio streamed of internet paths are impaired with added delay, the audio itself is unchanged.
    • Musicians reactions to Internet delay may change the audio
    • Internet applied as FDL (feedback delay loop)
      • (Some delay added locally to avoid all audio streams to have identical delay
    • Resulting reverberation resembles some kind of “Internet room”.
    • Feature is added to Jacktrip in upcoming version
  • Repetition of results from delay experiments with clapping
    • Model for human clapper was poor in 2012. Still being imporved
  • New experiments based on web page where user attempts to tap in sync with adaptive tapping algorithm
    • user taps along with metronome, sine wave driven metronome, adaptive alg and delayed adaptive alg.
    • “When do you sense your partner is listning?”

Staging Networked Music Performance

  • Ian Biscoe
  • Historical perspective on presentation of networked performances
  • Run through of Ian's projects including
    • Danish royal academy of music in 2017 performance
  • New visual project has premier April 25th in Miami

Reflections on collaborative telematic music research

  • Zurich University of Arts and Onsite
  • Performance
    • Some local bass fed to local speakers to merge remote and local musicians better
    • Tables put up right applied as projection screen for single-person projection
  • Telematic rooms open doors to new musical performances
    • Care should be taken to not only “drive our new space shuttle down the highway the usual route”.
  • System applied
    • Jacktrip for audio and Ultragrid for video
    • “TPF server” developed to manage it all
      • Software packages required are organized by TPF package
      • Written in Pure Data and Python
      • Available on Github
      • Seems to reinvent STUN and TURN functionality
  • Staging the telematic space: Videos in telematic space
    • Telematc space not only a technical space, but also a mental space…
    • Proportions
      • Imitate the life size of people, e.g. table based projection surface
      • Tech-choreography required
    • Apply a T-screen to offer monitor screen for on stage musicians and screen for audience
      • Additional projector and screen ⇒ complexity increase
    • Transparent screen
      • Musicians behind screen may still see projection
      • Impression of remote person being present is imporved
    • Embodyment
      • Monitor towers showing each remote musician, included audio monitors
      • Audience could walk around, between the musicians
    • Moving in space
      • A movable speaker represented remote person
      • Movable live size projection screen, applied for dancers
        • Creates opportunities for explore the “telematic space”
  • Transcending place but not time zone
    • Who has “prime time” when collaboration takes place across time zones ?
      • Time of day influences how a concert is experienced by the audience

Panel: Carbon footprint and NetArts conferences/work

  • Q1: To what extent is remote presentations given in music conferences?
    • Still unusual. Only occasional. A fear for lost informal social interaction.
    • Important topic. Network-musicians do meet “informally” and “deeply” through online collaborations.
      • Upcoming online event illustrating CO2 evolution on earth. icewalkeath.org ?
  • Q2: What does it take to offer ti?
    • Given the venue is in an academic institution, infrastructure and support tends to be available
    • Hotel venues may refuse you/charge extra if Internet is to be applied for presentations
    • Zoom seems to be a game changer with respect to multi-participant on-line meetings
    • Avoiding a centralized system (relying on a hub/management node) would be preferable
      • Ideally there should just be presistant rooms where people join and leave over time (WebRTC?)
  • Q3: What is required to make a better user experience for VC?
    • The community has talked to Zoom. No enhanced audio mode on the road map yet…

Distributed performance at NY univ. Steinhardt

  • Tom Beyer
  • Manages a generous infrastructure including 3 theaters, 9 classrooms, 4 recording studios
  • Teaches courses including workshop in networked music collaboration in summer term
  • Historical summary.
    • Collaboration with UiT in 2012-2015
  • Upcoming concert
  • Apply clapping exercise with increasing tempo to measure which tempo works with respect to latency
    • Given tempo and “on-second-beat” situations, students are asked to come up with playing strategies

Double Brain

  • Brain waves applied as input to audio generators (brain wave soundification)
  • Presentation summarizing work done while sounds of speakers brain activity is mixed into the audio stream
  • Tool applied to share (peer-to-peer?) brain wave data flows
    • Two prosessed streams (meditation and one other…) as well as raw data
    • Raw data show significant pulses on eye blinks
  • Concert project where audience were asked to ware EEG equipment
    • Questions were posted on projection screen, and EEG data from the audience drove audio generators when they answered questions in their brains

Virtual Cistern Concert

  • Improvisational concert i virtual version of a 100 year old water cistern in Zurich.
  • Very long reverberation time
  • Cistern concert also made in NY shopping mall successfully using the mall's built in info-speaker system

Toporhythm

  • Ethan Cayko
  • Delays in the order of 50-150 ms are to short to attempt applying shifted rhythmic patterns, e.g. a shift by an 8th at 122 bpm requires a delay of 250ms
  • Earlier work on “staying in synch”
    • The “staying in synch”-time window is interpreted rather differently by e.g. percussionist and string players
  • Tool/patch in Max developed which adds the “missing” delay to enable wanted/usable off beat rhythms.
    • Needs calibrations. Applying a metronome is recommended.
  • Three node rhythmic piece written with different delay between the three percussionists
    • Sometimes human error cause up to 20ms miss hits
    • Occasionally perfect synch happens ⇒ outputs a “strange” crisp sound
  • How to create rhythms for more than 2 nodes…?
    • A Toporhythm visualizer made available to help compose
    • Algorithm generates notes for additional nodes when rhythm for “master” node is prepared
 
 
nettmus/2018-04-19_nownetarts_2018.txt · Last modified: 2018/04/30 11:30 by wittner@uninett.no

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