Change search
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
The TCP/Indeterminate Place Quartet: a Global Hyperorgan Scenario
Luleå University of Technology.
Luleå University of Technology .
Luleå University of Technology.
Royal College of Music in Stockholm, Department of Composition and Conducting.ORCID iD: 0000-0002-6967-8077
2021 (English)Artistic output (Refereed)
Resource type
Moving image
Description [en]

This performance with the TCP/Indeterminate Place quartet activates a telematic connection in which two concert hall pipe organs, in two different locations in Europe, are controlled remotely. It is a realization of a new scenario in the Global Hyperorgan project, in which the quartet is divided in two duos, situated in different locations. Such interactions are emblematic of the intersections of the technical, artistic and social aspects at the heart of the Global Hyperorgan and illustrative of the thick and pervasive mediating dynamics endemic to all musicking. Global Hyperorgan participants are compelled to develop new models of instrumentality for new modes of musicking. TCP, in the name of the quartet, refers to the combination of Telepresence and Copresence, in the neologism Tele-Copresence, as an expression of our central interest in the sense of presence in musical interactions enabled by telematic performance. By Indeterminate Place, we refer to the experience of place in tele-copresence as sometimes characterised by a mediated, liminal space. The Global Hyperorgan contributes a particular potential for exploration of concert spaces that carry particular acoustic affordances, as well as socio-historical characteristics. In tele-copresence, these are at times molded together in Indeterminate Place.

Abstract [en]

The TCP/Indeterminate Place quartet presents a telematic performance in which two concert hall pipe organs, in two different locations in Europe, are controlled remotely using a series of different techniques. The four performers are located at the KTH R1 Experimental Performance Space in Stockholm, controlling the Skandia Organ, while also remotely controlling the Utopa Baroque Organ at Orgelpark, Amsterdam. The performance for NIME 2021 further develops approaches tested in the embedded video below. A fundamental point of departure for the quartet is a widened conception of modularity as a way of designing interaction between human and non-human agents. Through telematic means, the group has applied this concept within the Global Hyperorgan project [undefined]. The quartet made its first performance in January 2021, connecting two large pipe organs in Piteå, Sweden, and Amsterdam, the Netherlands. This constituted the first “scenario” of the Global Hyperorgan project: that is, one of the possible configurations involving Hyperorgans, distant spaces, and co-performers connected via a network.

The Global Hyperorgan is an intercontinental, creative space for acoustic musicking. Existing pipe organs around the world are networked for real-time, geographically-distant performance, with performers utilizing instruments and other input devices to collaborate musically through the voices of the pipes in each location. In the submitted video, we observe how the modular system utilized in this performance afforded multiple experiences of shared instrumentality from which new, synthetic voices emerge. Our aim with the proposed performance is to further explore the potential in such forms of interaction. As a long-term technological, artistic and social research project, the Global Hyperorgan offers a platform for exploring technology, agency, voice, and intersubjectivity in hyper-acoustic telematic musicking.

TCP, in the name of the quartet, refers to the combination of Telepresence and Copresence, in the neologism Tele-Copresence, as an expression of our central interest in sense of presence in musical interactions enabled by telematic performance. By Indeterminate Place, we refer to the experience of place in tele-copresence as sometimes characterised by a mediated, liminal space. The Global Hyperorgan contributes a particular potential for exploration of concert spaces that carry particular acoustic affordances, as well as socio-historical characteristics. In tele-copresence, these are at times molded together in Indeterminate Place. Tangentially, TCP/IP is the foundational protocol stack of the Internet.

Place, publisher, year, pages
2021.
Keywords [en]
Global Hyperorgan, Hyperinstrument, Network performance, HCI, Live-coding, Assisted Interactive Machine Learning, AIML, Musicking, Telematic, Performance, Instrumentality.
National Category
Music
Identifiers
URN: urn:nbn:se:kmh:diva-4385DOI: 10.21428/92fbeb44.7714e834OAI: oai:DiVA.org:kmh-4385DiVA, id: diva2:1623909
Available from: 2021-12-31 Created: 2021-12-31 Last updated: 2022-01-04Bibliographically approved

Open Access in DiVA

No full text in DiVA

Other links

Publisher's full textThe TCP/Indeterminate Place Quartet: a Global Hyperorgan Scenario

Search in DiVA

By author/editor
Petersson, Mattias
By organisation
Department of Composition and Conducting
Music

Search outside of DiVA

GoogleGoogle Scholar

doi
urn-nbn

Altmetric score

doi
urn-nbn
Total: 81 hits
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf