Difference between revisions of "PLOrk CMJ"

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outline:
 
outline:
  
* 1. introduction and motivations
+
* 1. introduction and motivations [dt will start]
 
** a. more on musical motivations, notions of intimacy, dislocation, stuff from BoSSA etc....
 
** a. more on musical motivations, notions of intimacy, dislocation, stuff from BoSSA etc....
 
* 2. design
 
* 2. design
** a. like the ICMC paper, but somewhat more in depth
+
** a. like the ICMC paper, but somewhat more in depth [skot, dt will start, using ICMC]
 
** b. hardware
 
** b. hardware
 
** c. software
 
** c. software
 
** d. networking
 
** d. networking
* 3. compositional approaches and issues
+
* 3. compositional approaches and issues [dt will introduce, others contribute to subsections as you see fit]
 
** a. networking and the conductor
 
** a. networking and the conductor
 
*** i. approaches
 
*** i. approaches
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**** 1. Paul’s piece
 
**** 1. Paul’s piece
 
**** 2. the PLOrk Drones
 
**** 2. the PLOrk Drones
** 4. plork problems and lessons
+
** 4. plork problems and lessons [start with ICMC stuff, rewrite and expand]
 
*** a. like ICMC
 
*** a. like ICMC
 
*** b. defensive measures
 
*** b. defensive measures
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***** 1. ignore locally if any aspect of the message is unchanged from last transmittal
 
***** 1. ignore locally if any aspect of the message is unchanged from last transmittal
 
**** iii. redundant roles of players (if one goes down...)
 
**** iii. redundant roles of players (if one goes down...)
** 5. conclusions and discussion
+
** 5. PLOrk pedagogy [ge will start]
 +
** 6. conclusions and discussion
 
*** a. compositional challenges
 
*** a. compositional challenges
 
*** b. things that were exciting
 
*** b. things that were exciting

Latest revision as of 08:35, 29 June 2006

The Princeton Laptop Orchestra: Motivations, Design, Music

Authors: 1. Trueman 2. Cook 3. Smallwood 4. Wang

outline:

  • 1. introduction and motivations [dt will start]
    • a. more on musical motivations, notions of intimacy, dislocation, stuff from BoSSA etc....
  • 2. design
    • a. like the ICMC paper, but somewhat more in depth [skot, dt will start, using ICMC]
    • b. hardware
    • c. software
    • d. networking
  • 3. compositional approaches and issues [dt will introduce, others contribute to subsections as you see fit]
    • a. networking and the conductor
      • i. approaches
        • 1. traditional
        • 2. text messages
        • 3. linked lists and trees (PLOrk Tree and Chuck Chuck Rocket)
        • 4. time syncing
        • 5. dance (tomie)
        • 6. gaming models
          • a. skot’s pieces
          • b. Chuck Chuck Rocket, and PLOrk Tree sorta....
    • b. interfacing
      • i. QWERTY and CliX
      • ii. sensors
      • iii. off-the-shelf
      • iv. to hold the laptop or not to hold the laptop
    • c. sounds
      • i. live signal processing
        • 1. PLahara and PLOrk Chorale
        • 2. Pauline and the audio network
      • ii. sampling and sound files
        • 1. crb/tomie
        • 2. Non-specific....
      • iii. synthesis
        • 1. Paul’s piece
        • 2. the PLOrk Drones
    • 4. plork problems and lessons [start with ICMC stuff, rewrite and expand]
      • a. like ICMC
      • b. defensive measures
        • i. decimate data
          • 1. send major beats compute subdivisions locally
          • 2. decimate gestural data from conductor and smooth locally to decimation level
        • ii. transmit complete state of patch at low bandwidth
          • 1. ignore locally if any aspect of the message is unchanged from last transmittal
        • iii. redundant roles of players (if one goes down...)
    • 5. PLOrk pedagogy [ge will start]
    • 6. conclusions and discussion
      • a. compositional challenges
      • b. things that were exciting
      • c. things that are annoying
      • d. theatrical and social issues
        • i. interesting to watch?
          • 1. video, in future
          • 2. making the instruments more challenging and (likely) more interesting to watch
          • 3. how important
        • ii. sound and social context with large group