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Exploring the Creative Potential of Access Grid for Musical Performance

Discover the advantages, technical questions, aesthetic considerations, and creative propositions of using the Access Grid for musical composition and performance, including transcending distance to collaborate in new ways. Dive into the geometric possibilities inspired by Jorge Luis Borges' Library of Babel for innovative virtual performances.

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Exploring the Creative Potential of Access Grid for Musical Performance

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  1. playing on the access grid:what’s of interest to a composer? Demonstrator Workshop HRI 17 January 2007

  2. advantages • life-size view (‘just like being there’) • simulate live performance • view of body and instrument • sense of the room • multiple sites • reach larger, distributed audience

  3. kinds of use • workshops and consultations • solo performer or ensemble - composer/s at different locations (transcending distance: new possibilities for collaboration, low carbon output) • festivals and composer visits • shared across multiple sites (extended audience, added value) • creative stimulus • geometries of virtual space • new location for performance • suggest/evolve new kinds of performance

  4. technical questions • sound quality?? • what kind of control can be achieved over audio and visual parameters? • consistency between sites? • communication in real time between live musicians: • acoustic communication (tuning, balance) • body language (lines of sight, non-visual cues)

  5. aesthetic questions • distance/relative distance? • where is the centre/front? • how does the access grid break down/reconstitute hierarchical structures? • how can spaces be overlaid to simulate virtual presence?

  6. conceiving the geometry of the access grid Jorge Luis Borges: The Library of Babel (an infinite sphere composed of hexagons) • how would it look? • how infinite? • where is its centre? • mirrors • what are the paths through it? • possible permutations/arrangements

  7. creative propositions • playing with distance in virtual space • performing ‘distance’ canon where each successive voice is more distant than the last - simulates infinity • two ensembles at different sites (e.g. UK/NZ) in an antiphonal relationship across space and time zones • close-up duet between like instruments, playing face to face (mirror)

  8. creative propositions • ‘importing’ a performer by video from another space • e.g. an underground tunnel • mixing sonic and visual media/dance • e.g. ‘GPS for a known place’ • mixing live and prerecorded media to create illusions • going with the features and limitations, e.g. latency = non-synchronisation; ‘Babel’ - multiple voices creating ‘chaotic’ effect

  9. conclusion • the access grid affords a fascinating opportunity to investigate space and evolve new modes of musical performance • in order for it to be useful control of audio and visual parameters needs to be established to a satisfactory level of quality • the malleability of the space is limited by fixed cameras and microphones • marriage with performance spaces/outdoor spaces, etc. would greatly increase its creative potential and usefulness to artists

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