hi, I'm assembling Randall and Roger’s prompts regarding studio process in relation to network music practice (NMP).
In Canada (a research chair) and in China both, the first consideration I had regarding the building of studios was that I’d be directly on CAnet (Canada) and CERNET (China) with at least 1 gig of ipv6 bandwidth to play on. And that has been my studio practice since 2008. The second thing we did was to compile an ipv6 enabled version of jacktrip. The result being multicity/multichannel audio so lossless and jitterless that it’s almost disappointing. Thankfully, there were harder problems more related to organization in getting NMP to work. The first years were revealing of a young practice: It happened one day that we were playing a networked music/art concert/happening with Copenhagen and Rio. We were in Beijing. Rio was on IPV4 and was sending OSC data to us from sensors clipped to the leaves of a very robust house-plant/arduino cyborg. We got signal in Beijing when Guto in Rio gently blew air over the plant’s leaves, feeding it with CO2. We converted that energy into something to feed our sound and streamed that to Copenhagen over IPV6 using Jacktrip (by the grace of Sebastian’s IPV6 tunnel). While Copenhagen framed this as a sort of art/technology happening in Kjell’s lab, we were doing a live concert at the Central Conservatory of Music (CCOM), projecting all the iChat streams onto our screen (our partners alas didn’t have telepresence hardware). From what I remember, Copenhagen then forwarded the audio over IPV4 to Rio AND Salvador, where Ivanni was improvising a dance with an iPad, at the same time Facetiming with a woman (a recitation) in Washington DC who could only get wi-fi at a neighborhood coffee shop. The iPad was also (economically) sending OSC data back to Beijing (tilt, acceleration) to feed into the complex control logic of Bruce’s Max patch - adding to this precariously balanced global system. If we had any physical signal gaps in our feedback system, these were completed by n factors of distributed presence. Yes, there were sensors hooked-up to plants everywhere except Beijing, sending their OSC trails back to Beijing to somehow interact in our artificial, quantitative eco-controlled environment, but the emergent presence profile that we had so meticulously assembled over this one year research project suddenly bloomed forth (incarnated) in all its glorious aesthesia into a higher order perception of multi-chronotopic (con)fusion. Without control (technological and theoretical), the netzophrenia one feels (networked mind) at times can become overwhelming. When you spend days trying to get a really complex jack audio patch right and a performance is happening in 5 minutes and you haven’t rehearsed the music yet and the system goes down and you have to hook it all back up again… So the last few years I’ve been working on Artsmesh: a user interface, a pro-tool for networking, a seat for the expert presence engineer, toward the Brechtian promise of many-to-many radio/tv, forming a mesh of live streams and a flora of performance communities... There are theoretical tools: Bakhtian chronotopes to organize musical time/space relationships in multicity performances; the syneme in relation to signaletics referring to a primary discourse (Bergson/Einstein) that was backgrounded in cybernetics with its emphasis on command and control; Jimena Canales book on the interval of a 10th of a second (a critical area of interest for NMP); simultaneity in multi-chronotopic scenarios; teleaesthesia; the emergent polysystem (chronotopic fusion); liveness; the rhetoric of immediacy; the production of presence (Gumbrecht)... I think we’re making making progress. Ken Kenneth Fields, Ph.D. Professor Network Music CEMC: China Electronic Music Center Central Conservatory of Music 43 BaoJia Street Beijing 100031 China, Email: [email protected] http://syneme.ccom.edu.cn <http://syneme.ccom.edu.cn/> [Apply to New Ph.D. Program in Network Music Performance] >> And furthermore, as NetArtizens, we ask: how has your practice as an >> artist, educator, writer scholar & activist been shaped / catalyzed / >> transformed / by your use of the network? How has the Net altered the >> creation, contextualization, and diffusion of your work? How has the Net >> impacted your studio process? And finally, in reference to this forum, >> what are the various ?net behaviours? that result in the immersion & >> flow >> of media creation, research, and information distribution that we >> participate in each and every day via the network? >>> >> Best, >> >> Randall > ----------------------- > > Message: 4 > Date: Wed, 25 Feb 2015 12:18:29 +1100 > From: Roger Mills <[email protected] <mailto:[email protected]>> > To: [email protected] <mailto:[email protected]> > Subject: [NetBehaviour] Phantom Limbs > Message-ID: <[email protected] > <mailto:[email protected]>> > Content-Type: text/plain; charset="utf-8" > > With this in mind, I have often wondered why sound seems to play such a minor > role in these deliberations, particularly in staple literature such as > Massumi, Ascott et al (please point out if you or anyone feels i have missed > something here). This follows what I also find to be a somewhat > anachronistic, yet still pervasive notion of virtual space being perceived > objectively as a separate, somehow fluffy academic cosy space (cyberspace) > between dislocated bodies. > > In my mind cyberspace, or networked space as I prefer to think of it, is an > extension of physical spaces and the embodiment of those spaces by the social > actions that occur in them. This emerged quite strongly in my own case study > research of networked music performance (NMP), but perhaps it also has > something to do with a music or sound focussed medium as opposed to the > predominantly visual medium of virtual environments such as SL. > > Some of these questions might be discussed in the upcoming Art of Networked > Practice symposium, although I was hoping, (Randall aside) that there might > have been a panelist who could speak from a specific NMP practice and > research perspective. There are many such as Pauline Oliveros, Mara Helmuth, > Ken Fields for example that I think could contribute poignant ideas that > relate to many of these issues but IMHO are often overlooked by audiovisual > focussed telematics perspectives. > > In any event I enjoyed revisiting your paper and its contribution toward the > much needed 'epistemic arc' as you describe it ! > > Best wishes > Roger > > > ? > Roger Mills > > http://www.eartrumpet.org <http://www.eartrumpet.org/> > <http://www.eartrumpet.org/ <http://www.eartrumpet.org/>> > http://roger.netpraxis.net <http://roger.netpraxis.net/> > <http://roger.netpraxis.net/ <http://roger.netpraxis.net/>> > http://telesound.net <http://telesound.net/> <http://telesound.net/ > <http://telesound.net/>> > > "Knowledge is only rumour until it is in the muscle" - Asaro Mudmen, Papua > New Guinea.
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