This paper describes the implementation ofNeVIS, a local network system that establishes communication between individual performers, as well as between laptop and performers. Specifically, this is achieved by making use of vibrotactile feedback as a signalling tool within an improvisational setting. A discussion of the current developments regarding the use of networks within improvisation is presented, followed by an outline of the benefits of utilising the haptic feedback channel as a further sensory information pathway when performing digital music. We describe a case study of the system within the context of our computer-mediated improvisational duo Můstek, involving piano, percussion and live electronics. Here, a cueing system or framework is imposed over the improvisation and is transmitted directly to the skin of the performers via tiny vibrations. Additionally, performers may make use of simple vibrotactile signals to enhance traditional visual cues that are often employed within performance. A new work,Socks and Ammo, was created using NeVIS, and was presented at various international conferences and festivals. We also tested the system itself within a group of postgraduate researchers and composers. Qualitative evaluation of the musical outcomes as experienced both by the performers and by the listeners at these events is offered, as well as implications about the nature of collaborative music-making.
This paper describes the background and motivations behind the author’s electroacoustic game-pieces Pathfinder (2016) and ICARUS (2019), designed specifically for his performance practice with an augmented drum kit. The use of game structures in music is outlined, while musical expression in the context of commercial musical games using conventional game controllers is discussed. Notions such as agility, agency and authorship in music composition and improvisation are in parallel with game design and play, where players are asked to develop skills through affordances within a digital game-space. It is argued that the recent democratisation of game engines opens a wide range of expressive opportunities for real-time game-based improvisation and performance. Some of the design decisions and performance strategies for the two instrument-controlled games are presented to illustrate the discussion; this is done in terms of game design, physical control through the augmented instrument, live electronics and overall artistic goals of the pieces. Finally, future directions for instrument-controlled electroacoustic game-pieces are suggested.
Death Ground is a competitive musical installation-performance game for two players. The work is designed to provide the framework for the players/participants in which to perform game-mediated musical gestures against each-other. The main mechanic involves destroying the other player's avatar by outmaneuvering and using audio weapons and improvised musical actions against it. These weapons are spawned in an enclosed area during the performance and can be used by whoever is collects them first. There is a multitude of such power-ups, all of which have different properties, such as speed boost, additional damage, ground traps and so on. All of these weapons affect the sound and sonic textures that each of the avatars produce. Additionally, the players can use elements of the environment such as platforms, obstructions and elevation in order to gain competitive advantage, or position themselves strategically to access first the spawned power-ups.All of the game's real-time parameters, such as player speed, health, types of power-ups collected, collisions and ground materials, are used to control musical parameters driving bespoke digital musical instruments.
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