====== 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