1. CO-ME-DI-A COoperation and MEdiation in DIgital Arts 2007 - 2010 Andrew Gerzso - IRCAM CO-ME-DI-A coordinator

2. CO-ME-DI-A partners IRCAM (F) - Institut de Recherche et Coordination Acoustique Musique, Paris. UNIGE (IT) - Università degli Studi di Genova, Genoa. CIANT (CZ) - Center for Art and New Technologies, Prague. SARC (UK) - Queen's University, Belfast. IEM (A) - University of Music and Dramatic Arts, Graz. HFMT (DE) - Hochschule für Musik und Theater, Hambourg. HCMF (HU) - Hungarian Computer Music Foundation, Budapest.

3. Previous Experience (some examples)

4. Network Performance at SARC Geographically Displaced Ensembles [2005] - three-site Irish Traditional Music Session (with CCRMA, Stanford/USA, SARC and the University of Washington) - two-site Christmas laptop concert using Frequencyliator [2006] - three-site Christmas concert in 2006 (with CCRMA, Stanford/USA and UEA Norwich, UK) [2007] - Strings Apart Piano Duo (with CCRMA, Stanford.USA) - Disparate Bodies v. 1.: three-site acoustic piece written specifically for the network (Nime 2007) - Disparate Bodies v. 2.: three-site distributed ensemble piece (with IEM Graz and Hoschule für Musik und Kunst Hamburg) [2008] - Laptop Ensemble (BLISS (Belfast Legion for Improvised Sights and Sounds) and Göteborg’s Academy of Music and Drama laptop ensemble, Sweden

5. Network Performance at SARC Performance in Virtual Environments [2007]- Second Life as a performance venue (Disparate Bodies v.2) [2008] - SL Performance with Gestural Interaction between performer and avatars Future Plans - Use of binaural streaming for spatial music - Avatar development based on multimodal performance capture

6. Network Performance at SARC Distributed Installations [2008] 2 Places Exhibition (Belfast - Limerick)Audio Feedback loop through two vibrating metal plates

8. Transatlantic Rehearsal Feb. ‘07 - New World Symphony Reinbert de Leeuw conductor “Correspondances” by Henri Dutilleux “Color” by Marc-André Dalbavie

9. View from Ircam

10. View from NWS

11. “Ius Lucis” of Valerio Sannicandro Work for two ensembles in two halls Centre Pompidou and IRCAM Premiere June 6, 2007 Ensemble Intercontemporain / Xavier Roth

12. Important Ideas Remote listening of “the other” hall Instruments are cross spatialized DSP cross synthesis Spatialization composition Acoustic “signature” of each hall

13. Hall One : CNAC-GP

14. Hall Two : IRCAM

15. EyesWeb - Casa Paganini

16. Test for “Rew(ind)” choreography : Hervé Robbe composition : Andrea Cera

18. Comedia Main Goals doing and learning networking through public events, workshops and residencies. creation of a common platform for efficient communication and expression. organization of residencies in order develop the technical and artistic content.

19. First Step : Scenarios plain description of event or situation topology : configuration and function of nodes data : audio, video, control, motion capture dramaturgy : what should be perceived by audience, participants and external observers

20. “Comedia bus” common communication infrastructure continuous flow of data (audio, video, data). eases activating network events

21. “Lecture or Training Network Event” can be a simple oral lecture or demonstration of technology involving audio and video the remote audience can express feedback via a local host or spokesperson for the audience

22. “Robotic Ensemble Remote Installation” robotic instruments placed on different nodes on the network each robot collects data provided by the other nodes each robot reacts to the collected data each place has a specific character

23. “Multi-way Performance with Remote Avatars” 2 sites with 2 musicians. avatar : replication of relevant aspects of “the original”. avatar data used in interactive processes audio, visual, (biometric ?) data. audience in each site has a specific perspective of the performance.

24. “Provokalia Choir Audience” one choir with conductor on one node two other choirs in remote nodes video and gesture data used for interaction “etude” to identify most effective and relevant expressive cues

25. “Remote Performance” a concert is transmitted to remote place where audience is concert audio “signature” or “image” is rendered to the audience - how to do this ? concert performers get feedback from audience awareness in audience that their feedback is perceived by the performers - how to do this ?

26. “Distributed Ensemble and Real Time Composition” each node has a performer playing scores appearing in real time on a screen conductor controls central computer generates the scores performer’s playing is analyzed locally and the derived data acts on central computer and thereby on the composition itself uses concept of virtual score audience at each node receives a “unified” audio image audience sees scores as they are generated

27. “Bi-directional Interactive Performance” two musicians at two nodes audio, video, motion capture data used for interaction two nodes differentiated by spatialisation and/or dramaturgical aspects each audience aware of the other

28. “Motion Enabled Live Electronics” spatial interface placed on stage on each of two nodes musicians and dancers act on collaborative virtual instruments controlled via motion capture a virtual audio image is mapped out over the network audio image is rendered to real and virtual audience spaces

29. “Network as Acoustic Medium” network inherently contains delays (speed of light !) delays, reverberation phenomena emerge dynamic real time connections to create sound “netscape”

30. “Network Mediated Social Interaction” two nodes - each with an audience how to build up awareness of the other audience ? interactivity via sound and music to increase mutual influence work on the expression of a sense of community, “entrainement”, competition, shared goals... scenario can be built up starting with individuals

31. “Multi-way Performance in Virtual Environment” 3 sites with 3 musicians audio, visual and motion capture data content of 3 sites rendered to Internet audience in a virtual environment.

32. “Playing Together One Computer Music Application” one real time computer music program on which several musicians act related to phenomena of “live coding” can be improvised or directed sound played in each location with same spatialisation and/or acoustic character parallel performer communication (chat...)

33. SAME Project

34. “Network Active Listening”

35. Important Concepts local & global rendering external observers avatars virtual performance spaces audience awareness dramaturgy

36. Types of Dramaturgy projected dramaturgy : one node retains authorship of dramaturgy using other nodes as contributors with their specific expertise. directed dramaturgy : each node contributes specific expertise and supports the dramaturgy developed by an invited artist. distributed dramaturgy : each node contributes specific expertise and retains authorship of its own dramaturgy.

37. Context of Comedia

38. That’s where we are ! Questions ?