https://www.uni-weimar.de/kunst-und-gestaltung/wiki/api.php?action=feedcontributions&feedformat=atom&user=Splash0119 2026-05-17T02:22:49Z User contributions MediaWiki 1.39.6 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57669 2013-05-13T00:44:21Z

<p>Splash0119: /* Instrumentation */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> ===The instruments in the quartet are===<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> Solo version<br /> <br /> Ensemble and concert version <br /> <br /> Telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==<br /> [[File:Fugue of Spaces-1.JPG|left|thumb|Concert hall]][[File:Fugue of Spaces-2.JPG|left|thumb|Black box theater]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57668 2013-05-13T00:43:43Z

<p>Splash0119: /* Musical idea and different version */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> Solo version<br /> <br /> Ensemble and concert version <br /> <br /> Telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==<br /> [[File:Fugue of Spaces-1.JPG|left|thumb|Concert hall]][[File:Fugue of Spaces-2.JPG|left|thumb|Black box theater]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57667 2013-05-13T00:42:57Z

<p>Splash0119: /* Ideas Drafting */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> <br /> ensemble and concert version <br /> <br /> telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==<br /> [[File:Fugue of Spaces-1.JPG|left|thumb|Concert hall]][[File:Fugue of Spaces-2.JPG|left|thumb|Black box theater]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57666 2013-05-13T00:41:18Z

<p>Splash0119: /* Ideas Drafting */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> <br /> ensemble and concert version <br /> <br /> telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==<br /> [[File:Fugue of Spaces-1.JPG|thumb|Concert hall]]<br /> [[File:Fugue of Spaces-2.JPG|thumb|Black box theater]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57665 2013-05-13T00:39:20Z

<p>Splash0119: /* Ideas Drafting */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> <br /> ensemble and concert version <br /> <br /> telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==<br /> [[File:Fugue of Spaces-1.JPG|Concert hall]]<br /> [[File:Fugue of Spaces-2.JPG|Black box theater]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Fugue_of_Spaces-2.JPG&diff=57664 2013-05-13T00:35:44Z

<p>Splash0119: </p> <hr /> <div>== Summary ==<br /> <br /> == Copyright status: ==<br /> <br /> == Source: ==</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Fugue_of_Spaces-1.JPG&diff=57663 2013-05-13T00:35:05Z

<p>Splash0119: </p> <hr /> <div>== Summary ==<br /> <br /> == Copyright status: ==<br /> <br /> == Source: ==</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57662 2013-05-13T00:33:36Z

<p>Splash0119: </p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> <br /> ensemble and concert version <br /> <br /> telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play<br /> <br /> ==Ideas Drafting==</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57661 2013-05-13T00:28:19Z

<p>Splash0119: /* Musical idea and different version */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> <br /> ensemble and concert version <br /> <br /> telematic version<br /> <br /> Compare between productions of opera and opera in concert<br /> <br /> Laterncy, special musical practices of performance:<br /> <br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and <br /> other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57660 2013-05-13T00:27:05Z

<p>Splash0119: /* Musical structure, concept, and motive */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57659 2013-05-13T00:26:43Z

<p>Splash0119: /* Musical structure, concept, and motive */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> _____Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57658 2013-05-13T00:26:06Z

<p>Splash0119: /* Explorations */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> 2. Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 3. Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57657 2013-05-13T00:25:32Z

<p>Splash0119: /* Musical structure, concept, and motive */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> <br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57656 2013-05-13T00:24:36Z

<p>Splash0119: /* Musical structure, concept, and motive */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3. An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4. Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57655 2013-05-13T00:24:10Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> 3. Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57654 2013-05-13T00:23:30Z

<p>Splash0119: /* Project Theme */</p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences<br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57653 2013-05-13T00:22:15Z

<p>Splash0119: </p> <hr /> <div>==Project information==<br /> ===Project title===<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> ===1. Virtual and physical presences===<br /> ===2. Fusing and parting===<br /> ===3. Shadow and object===<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57652 2013-05-13T00:18:35Z

<p>Splash0119: /* Explorations */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57651 2013-05-13T00:18:16Z

<p>Splash0119: /* Explorations */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57650 2013-05-13T00:17:55Z

<p>Splash0119: /* Explorations */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> # Aesthetic aspects:<br /> * Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> # Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> * Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> # Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> * sonic spatiality<br /> * multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> * latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57649 2013-05-13T00:16:43Z

<p>Splash0119: /* Musical structure, concept, and motive */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> # Twelve is the key number of the composition<br /> # A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> # An intermission is designed in the middle of the performance:<br /> * Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> # Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> * Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> * Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57648 2013-05-13T00:14:41Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization <br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57647 2013-05-13T00:14:08Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57646 2013-05-13T00:13:34Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization<br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57645 2013-05-13T00:13:01Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization<br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> #3 Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57644 2013-05-13T00:12:47Z

<p>Splash0119: /* Diagrams and stage design */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization<br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57643 2013-05-13T00:12:19Z

<p>Splash0119: /* Visual motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization<br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> # Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> # Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57642 2013-05-13T00:11:48Z

<p>Splash0119: /* Sonic motives */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> # Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> # Super Spatialization<br /> * Expansion and distortion of spaces, merge two sonic spaces into one<br /> * Juxtaposing and integrating the two sonic motives<br /> # Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57641 2013-05-13T00:11:07Z

<p>Splash0119: /* Diagrams and stage design */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> # Experimental Theater: Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> # Recital Hall: Straight-line (panning between LH and RH) =to project the presence of the solo pianist<br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57640 2013-05-13T00:10:12Z

<p>Splash0119: /* Instrumentation */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57639 2013-05-13T00:09:48Z

<p>Splash0119: /* Instrumentation */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> # Piano soloist performing in the Experimental Theater.<br /> # An accompanying instrumental quartet performing in the Recital hall. <br /> The instruments in the quartet are<br /> * Clarinet<br /> * Guitar<br /> * Cello <br /> * Percussion<br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57638 2013-05-13T00:08:41Z

<p>Splash0119: /* Project Theme */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> # Virtual and physical presences <br /> # Fusing and parting<br /> # Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57637 2013-05-13T00:06:10Z

<p>Splash0119: /* Project Theme */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> *1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57636 2013-05-13T00:05:09Z

<p>Splash0119: /* Project Title */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57635 2013-05-13T00:03:56Z

<p>Splash0119: /* Project Title */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces<br /> <br /> ===People===<br /> * Ideas by Yeung-ping Chen <br /> * [[../Jeffrey/]]<br /> * …anyone else who cares to be involved<br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57634 2013-05-13T00:01:23Z

<p>Splash0119: /* Explorations */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces <br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57633 2013-05-13T00:00:22Z

<p>Splash0119: /* Project Theme */</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces <br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57632 2013-05-12T23:59:15Z

<p>Splash0119: </p> <hr /> <div>==Project Title==<br /> Fugue of Spaces <br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Fugue_of_Spaces&diff=57631 2013-05-12T23:56:28Z

<p>Splash0119: Created page with &quot;==Project Title== Fugue of Spaces ==Project Theme== 1.Virtual and physical presences 2.Fusing and parting 3.Shadow and object ==Instrumentation== 1.Piano soloist perf...&quot;</p> <hr /> <div>==Project Title==<br /> Fugue of Spaces <br /> <br /> ==Project Theme==<br /> 1.Virtual and physical presences <br /> 2.Fusing and parting<br /> 3.Shadow and object<br /> <br /> ==Instrumentation==<br /> 1.Piano soloist performing in the Experimental Theater.<br /> 2.An accompanying instrumental quartet performing in the Recital hall. <br /> <br /> The instruments in the quartet are<br /> •Clarinet<br /> •Guitar<br /> •Cello <br /> •Percussion <br /> <br /> ==Diagrams and stage design==<br /> -for the instrumental setting: and the two different spaces: (geometrical sonic and visual motives)<br /> <br /> 1.Experimental Theater: <br /> Quadraphonic (circular) spatialzation =to project the presences of the four accompanists<br /> <br /> 2.Recital Hall: <br /> Straight-line (panning between LH and RH) =to project the presence of the solo pianist <br /> <br /> ==Sonic motives==<br /> 1.Linear direction [Recital Hall] &amp; Circular motion [Experimental Theater]<br /> 2.Super Spatialization<br /> •Expansion and distortion of spaces, merge two sonic spaces into one<br /> •Juxtaposing and integrating the two sonic motives<br /> 3.Twelve sonic fields: (via reverb, delay, data transmission latency, etc)- to create sonic characters that are coherent but also having their own different individualities.<br /> <br /> ==Visual motives==<br /> 1.Use of projections with holographic screen to project the pianist (from the theater) image on the empty piano (in recital hall).<br /> 2.Use of lighting/ projection (ex. four individual control projections that hanged on roof of the theater) to creates accompanying musician's shadows on the floor.<br /> <br /> ==Musical structure, concept, and motive==<br /> 1.Twelve is the key number of the composition<br /> 2.A one hour-long composition with twelve short musical movements:<br /> Twelve pieces represent 12 months; 12 pitches, 12 characters (Chinese flowers and poems)<br /> 3.An intermission is designed in the middle of the performance:<br /> •Audience from one of the performance venues will be asked to change to the other performance venue [ex. Recital hall to Theater, Theater to Recital Hall]<br /> 4.Musical motive and structure (relevant to spatial motives and characters of the spaces):<br /> •Linear direction [for the pitch of the Piano solo, relevant to Recital Hall]<br /> •Circular motion [for the accompaniment, relevant to the Experimental Theater]<br /> <br /> ==Explorations==<br /> 1.Aesthetic aspects:<br /> •Define sonic characters and identities of each space in order to create idiomatically composed dialogues between them.<br /> •Create sonic motives and gestures specific to each space and integrate them into the composition musically.<br /> •Virtual presence, physical exchange, and telematic transcendence of the audience members<br /> 2.Technical aspects:<br /> It is aimed to be composed idiomatically for telematic space, use it as a meaningful (inevitable) musical medium. <br /> •sonic spatiality<br /> •multi-dimensional/ immersive experience (performers' mind and sonic perceives)<br /> •latency in telematic signal transfer (sonic/ visual)<br /> <br /> <br /> ==Musical idea and different version==<br /> solo version<br /> ensemble and concert version <br /> telematic version<br /> Compare between productions of opera and opera in concert<br /> Laterncy, special musical practices of performance:<br /> - Passacaglia (or looping of a theme) with 12 different variations. Piano solo as the dominant role and other four accompanying instrument will be playing different heterophonic melodic texture that is based on the main theme that the piano play</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces&diff=57630 2013-05-12T23:47:37Z

<p>Splash0119: /* Collaborative Projects */</p> <hr /> <div>[[:Category:Projektmodul|Projektmodul]]&lt;br /&gt;<br /> ''Lecturers:'' [[Robin Minard]], [[/miller|Miller Puckette]], Katharina Rosenberger, [[/Shahrokh|Shahrokh Yadegari]], [[Ludger Hennig]], [[Max Neupert]]&lt;br /&gt;<br /> ''Credits:'' 18 [[ECTS]], 16 [[SWS]]&lt;br /&gt;<br /> ''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego)&lt;br /&gt;<br /> ''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio&lt;br /&gt;<br /> ''First meeting:'' 15.04.2013<br /> <br /> ==Description==<br /> The sensation of space through spatialized sound may be influenced by sources that differ in their quality and quantity. Within this project, we will investigate ways to modify, expand or augment how space can be experienced through sound. The outcome may be, for instance, an electroacoustic composition, a simulation of spatial perception, sonic architecture or a set-design as a virtual or performative environment.<br /> <br /> This project is the beginning of a long-term cooperation between the Bauhaus-Universität Weimar and the University of California in San Diego. Partners in Weimar are Prof. Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Prof. Miller Puckette (Computer Music), Prof. Katharina Rosenberger (Music) and Prof. Shahrokh Yadegari (Theatre and Dance). Telematic classes will allow students from both faculties to work together. Classes will take place in Weimar in the evening, mid-morning in San Diego. The cooperation is funded by the German Academic Exchange Service (DAAD).<br /> <br /> ===German description===<br /> Die Wahrnehmung von Raum durch verräumlichten Klang, kann durch Klangquellen beeinflusst werden, welche sich in ihrer Qualität und Quantität unterscheiden. In diesem Projekt werden wir untersuchen, auf welche Art wir die Erfahrung von Raum durch den Klang verändern, erweitern oder verbessern können. Das Ergebnis kann beispielsweise eine elektroakustische Komposition, eine Simulation einer räumlichen Wahrnehmung, klangliche Architektur oder ein Bühnenbild als virtuelle oder performative Umgebung sein.<br /> <br /> Dieses Projekt ist der Beginn einer langfristigen Zusammenarbeit zwischen der Bauhaus-Universität und der Universität von Kalifornien in San Diego. Partner aus Weimar sind Prof. Robin Minard und Ludger Hennig vom Studio für Elektoakustische Musik (SeaM) und Max Neupert (Gestaltung medialer Umgebungen). Partner aus San Diego sind Prof. Miller Puckette (Computermusik), Prof. Katharina Rosenberger (Musik) und Prof. Shahrokh Yadegari (Theater und Tanz). Gemeinsamer Unterricht mit einer Videoverbindung wird es den Studierenden beider Universitäten ermöglichen, zusammen zu arbeiten. Der Unterricht wird in Weimar am Abend und vormittags in San Diego stattfinden. Die Zusammenarbeit wird vom Deutschen Akademischen Austauschdienst (DAAD) gefördert.<br /> <br /> ===Werk/Fachmodule===<br /> We recommend the Werk/Fachmodul [[GMU:Dataflow II]] and/or Ludger Hennigs soundscapes class along with this Project module.<br /> <br /> ==Assignments==<br /> # [[/Making connection/]] due 04-22<br /> # [[/Mingling sounds/]] due 04-29<br /> # [[/Textualize ideas/]] due 05-06<br /> # [[/Proposing concepts/]] due 05-13<br /> <br /> ==Evaluation==<br /> Active participation, presentation, artistic examination, documentation, edits in the wiki.<br /> <br /> ==Participants==<br /> {| align=&quot;left&quot; {{Template:Prettytable}}<br /> |<br /> :'''Weimar'''<br /> * [[/Rico/]]<br /> * [[/Alex/]]<br /> * [[/Alice/]]<br /> * [[/Jonas/]]<br /> * [[/Andre/]]<br /> * [[/Paul/]]<br /> * [[/Ben/]]<br /> * [[/Ludwigberger/]]<br /> * [[/TimH/]]<br /> * [[/Dorian/]]<br /> * [[/Clemens/]]<br /> * [[/Ives/]]<br /> * [[/Cornelio/]]<br /> * [[/Johannes/]]<br /> <br /> * [[/Max/]] (you may use this as a template)<br /> |<br /> :'''San Diego'''<br /> * [[/Brendan Bernhardt Gaffney/]]<br /> * [[/Kevin/]]<br /> * [[/Melanie/]]<br /> * [[/Jeffrey/]]<br /> * [[/Bo/]]<br /> * [[/Andy/]]<br /> * [[/Jamilah/]]<br /> * [[/Marcelo/]]<br /> * [[/Ryan Welsh/]]<br /> * [[/ElisabetCurbelo/]]<br /> * [[/Joe Cantrell/]]<br /> * [[/czyskows/]]<br /> * [[/NickDrashner/]]<br /> <br /> * [[/miller/]]<br /> * [[/Shahrokh/]]<br /> * [[/CarolineMiller/]]<br /> |}<br /> <br /> <br /> <br /> ===Collaborative Projects===<br /> * [[/Convergence/]]<br /> * [[/Wind stream/]]<br /> * [[/Body Instrument/]]<br /> * [[/The Working System/]]<br /> * [[/Expedition/]]<br /> * [[/Immersive Collage/]]<br /> * [[/Voice Matter/]]<br /> * [[/Working with language/]]<br /> * [[/Bugs scored/]]<br /> * [[/Fugue of Spaces/]]<br /> <br /> ==Syllabus==<br /> ISO Standard: MONTH/DAY<br /> # 04/01 Only in San Diego (Easter Monday is holiday in Germany; Robin, Ludger and Max join via Skype/Google+ Hangout) faculty presentations about technical means and/or artistic issues. Introduction to the wiki.<br /> # 04/08 Only in San Diego – faculty presentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls<br /> # 04/15 First joint class<br /> # 04/22 Robin, Ludger and Max are in San Diego<br /> # 04/29<br /> # 05/06<br /> # 05/13<br /> # 05/20 Only in San Diego (Pentecost Monday in Germany)<br /> # 05/27 Only in Weimar (Memorial day in the U.S.)<br /> # 06/03<br /> # 06/10<br /> # 06/17<br /> # 06/24<br /> # 07/01<br /> <br /> ==SAM connection==<br /> We have two dedicated machines to facilitate the connection between the two places. In Weimar it is remote@141.54.193.23 (Linux Mint), in San Diego it is ideas@ideas-mac.ucsd.edu (OS X)<br /> <br /> We run the SAM Server as well as SAMINPUT in the directory /home/remote/msp/sam/bin<br /> <br /> ./saminput -n &quot;WeimarSending&quot; -i &quot;137.110.116.4&quot; -p 7770 -c &quot;1-2&quot; -t 0<br /> ./sam -n 2 -r 44100 -p 256 -d alsa -o 7770 -j 4464 -f 0 -m 2<br /> <br /> ==Literature==<br /> * Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336<br /> * LaBelle, Brandon: Background Noise ISBN 9780826418456<br /> * LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904<br /> * Minard, Robin: Silent Music ISBN 978-3933257130<br /> * Minard, Robin: Sound Installation Art<br /> * Leitner, Bernard: Sound:Space ISBN 978-3893224449<br /> <br /> Pd books:<br /> {{Template:PdBooks}}<br /> <br /> ==Links==<br /> * [https://groups.google.com/forum/#!forum/buw-ucsd-class Google Group BUW-UCSD-class]<br /> * [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]<br /> <br /> ===Sending data over the network===<br /> * [[OSC]]<br /> * netsend/netreceive, netserver/netclient. In Pd look at &lt;tt&gt;mrpeach&lt;/tt&gt; and &lt;tt&gt;iemnet libraries&lt;/tt&gt;<br /> * [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]<br /> <br /> ===Sending Audio and Video over the Internet===<br /> * [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE<br /> <br /> ====Intended for Communcation====<br /> * [http://www.skype.com Skype] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [https://tools.google.com/dlpage/hangoutplugin Google+ Hangout] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] (Seems to work best in Chome/Chromium)<br /> * [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://line.naver.jp/en LINE] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://www.teamviewer.com TeamViewer] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://www.teamspeak.com TeamSpeak] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> <br /> Teleconferencing<br /> * [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar<br /> * [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]<br /> * [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego<br /> <br /> Unidirectional only (aka streaming)<br /> * [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]<br /> * [http://www.ustream.tv Ustream]<br /> * [http://www.justin.tv justin.tv]<br /> * [http://www.shoutcast.com/ shoutcast] also as vst plugin availlable<br /> <br /> ====Intended for Performance/Creative Use====<br /> * [http://code.sat.qc.ca/redmine/projects/scenic/wiki/Scenic_fr Scenic] Audio and video in high quality, as well as MIDI [[File:Icon newtux 16x16.png]]<br /> * [http://netjack.sourceforge.net NetJack] a Realtime Audio Transport over a generic IP Network (last update 2010).<br /> * [http://code.google.com/p/jacktrip JackTrip] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] a network extension for [http://jackaudio.org/ Jack Audio Connection Kit] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://code.google.com/p/streaming-audio Streaming Audio Manager (SAM)] by [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] the most current Jack based streaming solution [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> * [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]<br /> * netsend~ for Max/MSP and Pd: [http://www.nullmedium.de/dev/netsend~ Olaf Matthes' Original Version] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]], [http://www.olivierguillerminet.com/portfolio/netsend Olivier Guillerminet's/Remu's Fork] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]<br /> <br /> ===Performing Remotely===<br /> * [http://www.netpd.org NetPd] <br /> * [http://at.or.at/serendipd SerendiPd] collaborative patching<br /> <br /> [[Category:SS13]]<br /> [[Category:Projektmodul]]<br /> [[Category:Robin Minard]]<br /> [[Category:Miller Puckette]]<br /> [[Category:Katharina Rosenberger]]<br /> [[Category:Shahrokh Yadegari]]<br /> [[Category:Ludger Hennig]]<br /> [[Category:Max Neupert]]<br /> [[Category:Pure Data]]<br /> [[Category:Performance]]<br /> [[Category:Community]]<br /> [[Category:Max/MSP]]<br /> [[Category:Telematic]]<br /> [[Category:Coorperation]]</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57307 2013-04-29T09:53:57Z

<p>Splash0119: /* Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment mi</p> <hr /> <div>==Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.==<br /> <br /> ==Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?==<br /> <br /> First, we think the quality of the sounds being transfer from one place to another is really important for the listener, if the sounds can be reproduce without any distortion and playback in a n appropriate volume, the listener will have a lot of reference points to determine whether these sounds are from the real environment or cleverly played in this space. On the other hand, if the sound quality not that good listener will lose most of the reference point, and make judgement by using few points. Therefore, it's easy to let the listener make a misjudgment in the environment with poor sound quality. But once the sound sender took all of the reference points, and process the sound that the listener will much easy to accept these pre-prepared sound as the real sound in the space.<br /> <br /> For example, during our conversation I can hear some birds sound from Ludwig's place, then he move the camera to the window want to show me the birds in the woods, I still hear the bird singing but I just can't see any birds in the screen.<br /> <br /> ==Q3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?==<br /> <br /> <br /> <br /> ==Videos==<br /> We choice the train station as our theme, we shoot those video in San Diego Old Town Transit Center and Weimar Train Station. We take the door open moment as our reference point then switch the audio from each other.<br /> <br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57306 2013-04-29T09:46:40Z

<p>Splash0119: /* Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment mi</p> <hr /> <div>==Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.==<br /> <br /> ==Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?==<br /> <br /> First, we think the quality of the sounds being transfer from one place to another is really important for the listener, if the sounds can be reproduce without any distortion and playback in a n appropriate volume, the listener will have a lot of reference points to determine whether these sounds are from the real environment or cleverly played in this space. On the other hand, if the sound quality not that good listener will lose most of the reference point, and make judgement by using few points. Therefore, it's easy to let the listener make a misjudgment in the environment with poor sound quality. But once the sound sender took all of the reference points, and process the sound that the listener will much easy to accept these pre-prepared sound as the real sound in the space.<br /> <br /> ==Q3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?==<br /> <br /> <br /> <br /> ==Videos==<br /> We choice the train station as our theme, we shoot those video in San Diego Old Town Transit Center and Weimar Train Station. We take the door open moment as our reference point then switch the audio from each other.<br /> <br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57300 2013-04-29T09:17:26Z

<p>Splash0119: /* Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.e */</p> <hr /> <div>==Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.==<br /> <br /> ==Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?==<br /> <br /> <br /> <br /> ==Q3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?==<br /> <br /> <br /> <br /> ==Videos==<br /> We choice the train station as our theme, we shoot those video in San Diego Old Town Transit Center and Weimar Train Station. We take the door open moment as our reference point then switch the audio from each other.<br /> <br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57299 2013-04-29T09:07:40Z

<p>Splash0119: /* Videos */</p> <hr /> <div>==Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.e==<br /> <br /> ==Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?==<br /> <br /> <br /> <br /> ==Q3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?==<br /> <br /> <br /> <br /> ==Videos==<br /> We choice the train station as our theme, we shoot those video in San Diego Old Town Transit Center and Weimar Train Station. We take the door open moment as our reference point then switch the audio from each other.<br /> <br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57298 2013-04-29T09:03:15Z

<p>Splash0119: </p> <hr /> <div>==Q1. How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.e==<br /> <br /> ==Q2. American sound artist Bill Fontana made several pieces in which he transfers sound from one location to another. How does this locational switch change our understanding of a the space(s) in question? What new aspects of a sonic environment might emerge? What happens to our perception of a location once it is stripped from its original sounds and these are replaced by sounds from another location?==<br /> <br /> <br /> <br /> ==Q3. How does an instrument through which sound is transmitted shape our expectation and the perception of it (loudspeaker, telephone, alarm-clock), in other words, what if the expectation is not met, what impact can this have on our perception?==<br /> <br /> <br /> <br /> ==Videos==<br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57297 2013-04-29T09:02:07Z

<p>Splash0119: /* The medium is the message */</p> <hr /> <div>==How does the sentence “The medium is the message” by Marshall McLuhan applies to your practice? Comment on this quote in the context of your own work and in regards to this transcontinental collaboration, etc.e==<br /> <br /> ==Bill Fontana==<br /> <br /> <br /> <br /> ==Impact of sounds being transmitted shape our expectation and the perception==<br /> <br /> <br /> <br /> ==Videos==<br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57296 2013-04-29T09:01:30Z

<p>Splash0119: /* Movies */</p> <hr /> <div>==The medium is the message==<br /> <br /> <br /> <br /> ==Bill Fontana==<br /> <br /> <br /> <br /> ==Impact of sounds being transmitted shape our expectation and the perception==<br /> <br /> <br /> <br /> ==Videos==<br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=57295 2013-04-29T08:58:40Z

<p>Splash0119: </p> <hr /> <div>==The medium is the message==<br /> <br /> <br /> <br /> ==Bill Fontana==<br /> <br /> <br /> <br /> ==Impact of sounds being transmitted shape our expectation and the perception==<br /> <br /> <br /> <br /> ==Movies==<br /> <br /> San Diego + Weimar mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;f0lo5yxya4E|500|280&lt;/videoflash&gt;<br /> <br /> Weimar + San Diego mix<br /> &lt;videoflash type=&quot;youtube&quot;&gt;pbqpB9k-Bas|500|280&lt;/videoflash&gt;</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Mingling_sounds/Ludwig_Jeffrey&diff=56980 2013-04-23T07:43:37Z

<p>Splash0119: Created page with &quot;Hi this is Jeffrey, my email is splash.yang@gmail.com&quot;</p> <hr /> <div>Hi this is Jeffrey, my email is splash.yang@gmail.com</div>

Splash0119 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=EKK:LoFi_Sounds_in_HiFi_Spaces/Jeffrey&diff=56970 2013-04-22T20:50:01Z

<p>Splash0119: /* Contact */</p> <hr /> <div>Hi, my name is Yang, Yen Chun you can just call me Jeffrey or Splash. I am the first year sound design student in theater and dance department. I got my BS degree in water resources engineering in Taiwan. I worked in a sound reinforcement company for six years most of my works are sound/recording system design and live performance mixing. <br /> <br /> [[File:Splash-1.jpg|thumb|Jeffrey Yang, Yen Chun]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ==Interests==<br /> My Interests is all kinds of interactive performance and I like making things by hand I would love to build a whole new instrument for this class.<br /> <br /> ===My collaboration interest===<br /> <br /> <br /> <br /> <br /> ==Platforms==<br /> My main platform is OS X, but I just got my Raspberry Pi and start to play it.<br /> <br /> ==Contact==<br /> e-mail: splash.yang@gmail.com<br /> Skype ID: Splash0119<br /> <br /> ==Google+ Latence test==<br /> [[File:Latence test.mov]]</div>

Splash0119