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+====== NowNetArts 2018 ======
+  * Place: Stony Brook, New York
+  * Date: 2018-04-19 to 2018-04-22
+  * Programme: https://nownetarts.org/conference/
+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
+     * http://wp.nyu.edu/immersiveaudiogroup/concert-links
+     * 29th April 15:00 EST
+     * Dancer with avatar on stage
+     * 360 video and ambizonic audio
+   * 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