TY - JOUR
T1 - On Designing, Composing and Performing Networked Collective Interactions
AU - Bevilacqua, Frederic
AU - Matuszewski, Benjamin
AU - Paine, Garth
AU - Schnell, Norbert
N1 - Funding Information:
http://cosima.ircam.fr . CoSiMa was supported by the French ANR National Research Agency (project ID ).
Publisher Copyright:
© The Author(s), 2021. Published by Cambridge University Press.
PY - 2021/12/1
Y1 - 2021/12/1
N2 - In this article, we discuss some of our research with Local Area Networks (LAN) in the context of sound installations or musical performances. Our systems, built on top of Web technologies, enable novel possibilities of collective and collaborative interaction, in particular by simplifying public access to the artwork by presenting the work through the web browser of their smartphone/tablet. Additionally, such a technical framework can be extended with so-called nano-computers, microprocessors and sensors. The infrastructure is completely agnostic as to how many clients are attached, or how they connect, which means that if the work is available in a public space, groups of friends, or even informally organised flash mobs, may engage with the work and perform the contents of the work at any time, and if available over the Internet, at any place. More than the technical details, the specific artistic directions or the supposed autonomy of the agents of our systems, this article focuses on how such 'networks of devices' interleave with the 'network of humans' composed of the people visiting the installation or participating in the concert. Indeed, we postulate that an important point in understanding and describing such proposals is to consider the relation between these two networks, the way they co-exist and entangle themselves through perception and action. To exemplify these ideas, we present a number of case studies, sound installations and concert works, very different in scope and artistic goal, and examine how this interaction is materialised from several standpoints.
AB - In this article, we discuss some of our research with Local Area Networks (LAN) in the context of sound installations or musical performances. Our systems, built on top of Web technologies, enable novel possibilities of collective and collaborative interaction, in particular by simplifying public access to the artwork by presenting the work through the web browser of their smartphone/tablet. Additionally, such a technical framework can be extended with so-called nano-computers, microprocessors and sensors. The infrastructure is completely agnostic as to how many clients are attached, or how they connect, which means that if the work is available in a public space, groups of friends, or even informally organised flash mobs, may engage with the work and perform the contents of the work at any time, and if available over the Internet, at any place. More than the technical details, the specific artistic directions or the supposed autonomy of the agents of our systems, this article focuses on how such 'networks of devices' interleave with the 'network of humans' composed of the people visiting the installation or participating in the concert. Indeed, we postulate that an important point in understanding and describing such proposals is to consider the relation between these two networks, the way they co-exist and entangle themselves through perception and action. To exemplify these ideas, we present a number of case studies, sound installations and concert works, very different in scope and artistic goal, and examine how this interaction is materialised from several standpoints.
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U2 - 10.1017/S135577182100042X
DO - 10.1017/S135577182100042X
M3 - Article
AN - SCOPUS:85122741599
SN - 1355-7718
VL - 26
SP - 333
EP - 339
JO - Organised Sound
JF - Organised Sound
IS - 3
ER -