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+====== NPAPWS 2018 ======
+  * Place: Miami, New World Symphony
+  * Date: 2018-04-24 to 2018-04-26
+  * Programme: https://npapws.org/npapw18-programme/
+The following sections are based on Otto J Wittner's notes from the workshop.
+===== Panel discussion on itc's impact on music eduation ++ =====
+  * Many opportunities... (bla bla)
+  * Network performaings arts at the stage now as motion pictures were in the beginning
+    * I.e. currently mostly recreating live conserts/performances like cinema just filmed theater performances
+    * New unique productions will probably emerge over time
+  * Should we and can we compete with the real thing, i.e. live performances ?
+    * No, but online / virtual version should inspire the audience to visit live venues
+  * (Panel focus in general towards classical music.)
+    * (They seem to forget/ignore all other genre of music...)
+    * Question from audience raised this issue. Plan member admit all music should be listened to
+===== Panel on international collaborations =====
+  * ( EaPConnect summary )
+  * Music collaboration tools rigged in "public" space at Tempere univ. linked to UK
+    * Applied Nimbra hw boxes (120 KNOK for a pair !)
+    * A lot of activities emerged over the link
+    * Ref 196? experiment named "whole in space" (online link across US)
+    * Students are uncomfortable the first two-three sessions, but then start chatting over the link
+  * ( Claudio reports how music collab. tech. seem to disappear when it works properly )
+    * Misc success stories where scepticle musicians (incl. professional conductor) are convinced when after trying music coll. tech.
+===== Recording Audio Across distance =====
+  * Slide (ref picture taken on phone) showing latencies across orchestra and across US Internet topology
+  * Live clapping experiment showing have musicians deaccelerate when delaly is introduced and no visual reference is available.
+  * Popular music
+    * Microtiming is important, groove, fast percussion
+    * In studio: Click tracks, visual cues (no conductor)
+    * Latency issue are very different from classical (orchestra) music
+  * Collaboration between Berkely (and all its international campuses) and Napier in Edinburgh
+  * Example with el-guitar teaching session with 810ms rt delay
+  * Example of work composed assuming 3sec latency
+  * Example showing successful cross atlantic studio session with ~90ms return delay
+  * Delay test performed with studio musicians
+    * Ref Chris Chafe's clapping experiments from 2004'ish
+    * Three musicians were given gradually increasing delay toward the other two musicians
+    * Deaccelleration begins at 35ms. A disaster av 60ms.
+    * Fast paced melody, some acceleration when delay is ̃~0ms, deacceleration starts around 35ms
+    * Drummer admit to "give up and just go with it" at 35ms
+  * Lola-cue-track and recordings at each end
+    * MUST run ProTools (or just the same DAW?) on both ends to enable "reproduction" off-line later
+===== LOLA, Ultragrid and MVTP updates =====
+  * LOLA
+    * Utilizes multiple cores in the hw
+    * Possible to downscale sessions to 20Mbps
+    * Attention needed to not configure sessions to require more resources than hw and network can provide
+    * Long list of requested features
+    * Analogue SD cameras will not be supported in coming versions
+    * Web site https://lola.conts.it
+    * Multiple camera support coming  (in version 2.0 ?)
+    * Ambisonic experiments ongoing
+    * Replay on-the-fly in 2.0
+    * Smaller units
+      * Startech USB3 eth dongle
+      * External USB audio interface (e.g. fireface) with 64 sample option
+      * Gaming laptop, e.g. Dell, with Nvidia graphics card (with cuda support)
+    * Launch event in september 2018, hence ready during summer
+  * Ultragrid
+    * Now up to 8k video
+    * Frame based video capture. Support for misc capture cards.
+    * Next release
+      * 120 fps support. Bitflow capture card support
+      * Intel GPU video acceleration support
+      * Full Spout support
+      * New GUI (at last.)
+    * End-to-end minimum delay ~30ms
+      * 120 fps uncompressed, bitflow capture card, JAI Spark camera, 120hz display
+      * Difficult with respect to light conditions
+    * Normal conditions give end-to-end ~40ms
+      * uncompressed 60hz 4k video
+    * All-equipment-in-one-box option developed, base don laptop and external capture cards
+    * GUI
+      * Minimum setup: Camera selection, display selection (and/or preview), Video and audio compression, destination
+    * Community update
+      * UG applied for voice master classes
+      * UG and LOLA has been applied together in event (Near in the distance 3)
+      * UG applied for live concert distribution i US from theater to schools and libraries
+        * Limited link capacity
+        * Old hw
+  * MVTP video transmission units
+    * Smaller unit: 2x full HD (1080p60), Larger supportes 4xHD
+    * 2 ch audio per video stream, 24 bit 48khz (?)
+    * Add < 1ms latency due to compression and transmission
+      * Compression ratio 5:1 or 10:1 with film industry quality
+    * Dream Chip Technology cameras: HD and 4k 6hz versions
+      * Only 0.1ms delay from sensor to sdi output !
+      * ... not including shutter time, i.e. 1/fps
+    * SDI cameras are superior to USB cameras w.r.t. image quality
+      * Low delay SDI cameras exist !!
+===== On the Fringe =====
+  * Common difficulties for "normal" internet users: Capacity limitation, NAT/firewalls, ...
+  * Tools that work
+    * JamKazam
+      * From 2014, standard audio intercase
+      * Without latency (?), no feedback issues (?)
+      * Sw with network monitoring, audio monitoring, ++
+      * Multi web cam support
+      * Chat and backtalk channel
+      * Fees for lessons and JamTracks, otherwise free to use
+      * Demo: 130k incoming audio (!) A lot of packet-loss
+      * Legal issues? On session initiation you choose which copyright license should apply
+      * In general well developed piece of sw, especially to be freely downloadable
+      * Codec ? Now codec, raw audio (Really? At 130kbps ?)
+      *
+    * Artsmesh
+      * Build on Jack API and ffmpeg
+      * Need to be bought via the crypto currency Ethereum
+      * $100 dollar for purchase
+===== What about wireless? =====
+  * 5G networks will make architecture merge with the Internet
+    * Due to screen + camera technology and high bandwidth
+    * ... or via virtual reality head-sets
+  * More sensors will be applied, e.g.
+     * Sensor in bow for violins
+     * Haptic gloves
+     * 3D audio
+  * "Connected cultures" project
+    * Vision: Include artists from where they are => wireless technology essential
+  * 5G are suppose to provide ultra-low latency... (probably only close to what wired nets provide)
+    * Illustration showing 5G cell example with also indoor cells
+    * Experiments with 4G shows 200ms end-to-end latency (Pipeline: web-cam ... 4G... some display)
+    * 4G is suppose to introduce around 40ms delay. 5G are to improve upon this.
+  * 3D sound
+    * Use surround speaker system rather than some headset
+    * (A lot of details about 5 channel 3d audio experiments)
+    * Capturing and representing audio reflections of higher degree is important
+  * Q&A
+    * How will 5G handle interference and other radio wave challenges? Similar to 4G, but also apply beam forming to focus radio coverage to smaller areas
+===== Producing and staging network performances =====
+  * Ian Biscoe, Renate Kreil, Maria Isabel Gandia
+  * Project including Cuba and Havanna in a networked perfomance
+    * Hardly no Internet networks available
+    * A lot of enthusiasm required
+    * Language challenges
+    * Good partners / helpers important
+      * E.g. an american with Cuban friends in the sw business
+    * Local solutions: E.g. green screen based on curtains fixed with tape to wall
+    * Elector acoustics based on vintage computer hw (e.g. commodore 64)
+  * Project shown at NPAPWS 2017 in Copenhagen
+  * Net arts coordination center - https://www.netart.cc
+    * Recommend to set up a web site as the first step in a networked performance projects
+      * For advertising first, and for documentation later
+    * So far always aim for new challenges, e.g. new scales (no of sites / participants) og tool combinations
+    * Time frame for larger project is around two years
+    * Recording of show shown combining LOLA and Ultragrid
+      * 3 remote participants (projected in background), dancer on stage
+    * 20 technicians at one end of production (Wienna side)
+    * 80 people in total all places together
+  * Univ Catalonia
+    * Check your Internet connection before planning performance
+    * In person meetings are valuable
+    * Interaction and cooperation with people from other cultures (with other languages) is necessary
+      * Be open and patient
+    * Funding: E.g. EaPConnect, city council
+    * Artists: Students enjoy participating
+    * Network "hacks" may be required
+    * When applying green screens ALL colors need to be transmitted, i.e. both R, G and B connectors must be in place
+  * Ian brings
+    * either his own bus with all that he needs or...
+    * A suitcase with converters and connectors as well as capture cards and graphics cards (?)
+    * Borrow computers, projectors and camera
+  * Ian integrates available systems by writing minor patches
+  * What about reliability? Do you have backup plans?
+    * Too expensive unfortunately
+    * Tape down connectors