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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
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