PIECES OF AOM
(((((((((( VICKY'S MOSQUITOS #13
)))))))))
Vicky's
Moskitos #13 is being presented the 14th of march 2007 simultaneously
in Second
Life and at the Art.Think.Box Netherbeck, performed by the Avatar
Orchestra
Metaverse and at the Waag Society Amsterdam, presented and performed by
ookoi.
The Second Life performance was screened and sounded live to the
audience at
Waag.
Except
of Vicky's voice reading a text by Harold Shellinx all the sounds in
the piece
are found inside Second Life - sounds of typing, clicks, bumps, water,
goats
and more. http://www.harsmedia.com/VickysMosquitos/
.
(((((((((((((((((
FADHEIT )))))))))))))))))))
composer:
Shintaro
Miyazaki (aka maximillian nakamura)
‘Fadheit’
is properly called "Variationen über die Fadheit Nr. 2 – für
Avatar
Orchestra Metaverse" is a piece of soundart, that existed before in RL.
Based on a Soloversion for a Laptop (Supercollider 3) the composition
was
played also by Laptoporchester Berlin. The german word "fadheit"
means something like staleness.
The
composition deals with elementar sounds of a violin and tries to
explore
elementally these sounds. Which produces a somehow stale environment.
In East-Asia
(China, Korea, Japan) staleness is often also positivly denoted.
Fadheit is
then the reduction of the basic things and of the crucial and essential
moments.
((((((((((((((((
RUE BLANCHE
)))))))))))))))
composer: Björn Eriksson (aka miulew takahe in SL), april 2007
The name of the piece
is inspired by the
book
‘Le vol d´Icare’ by Raymond Queneau.
Icare is the main character of the
author
character in this novel Le vol d´Ícare. One day he
disappears from his author
and this is the frame of this story. The character Icare did not want
to be
locked inside the story of the author and when suddenly he gets free he
explores a new world. Icare finds
himself on a zero point and that is the street called Rue Blanche.
Icare seems
to enjoy this and he from there he explores the new life. Things he has
not
been able to do before. He feels very free and with lust for life. He
also
falls in love to with LN.
The link i did with this piece Rue
Blanche is
as follows. I was reading this book during spring 2007. The different
planes of
being, like characters, avatars, stories in different planes and the
connection
them between inspired me much. So Rue Blanche is a metaphor for a new
perspective
with lots of possibilities to play together with different avatars and
them
making sounds and movements within this piece of Rue Blanche. So thus i
wanted
to explore in this newborn context of Avatar Orchestra Metaverse.
There are two groups
of players in the piece,
the sinus players that plays the sine tones only and the cosinus
players that
plays additional field recordings or other found sounds and beating and
sweeping sine tones. The HUDs (which emit the sounds, but are invisible
to the audience) are supplemented by receivers that are worn on the
back of avatars and are becoming red when a sound is played,
visualizing the musicians playing.
Rue Blanche was made as an
experiment to work
with sine tones in harmonic series in an orchestral context. A sine
tone is the
most simple and pure waveform consisting of only one frequency. A
harmonic
series is a progression of tones with start from the fundamental tone
frequency
and then 2, 3, 4, 5, 6 times the fundamental frequency. The HUDs was
prepared
with two sets of sine tone harmonic series. In addition to the sine
tones the
piece includes found sounds or field recordings.
((((((((((((((((
WEE.NO.KRESH
))))))))))))))
composer:
Andreas Müller (aka bingo
onomatopia)
The
Onomatophone was created out of the idea to build an instrument with
rean
3-dimensional sound. The result is an instrumnt that separates the
control-interface from the sound-generation: six spheres sending out
audio fly
right through the audience, thus giving everybody a unique,
continuously
changing mix.
W.N.K.
is not only a song I made for AOM but also a proof of concept that
loop-based/rhythm-oriented music can be arranged/performed/mixed live
in SL.
Hence the dance/Drum'nBass loops. I simply wanted to see if they play
back in
sync in laggy live situations. These drum-loops are taken from the web
or were
freebies from synthesizer magazines; of course I processed them and did
not use
them unedited. The other loops were (like the rest of the samples used
here)
created from my library of field-recordings: There are, for examples
the
heating of a flat I once lived in for a while, a metal lid covering the
public
water-systems at the place we go to for flying kites and riding sleigh,
the
mouse-clicks of my old Atari and so on.
Technically,
it as a project for learning the coding of LSL (Linden Scrpting
Language), I
had to create an interface controlling the sounds as well as the
movements of
the spheres - plus visual feedback for the audience (and player) as the
buttons
change color when clicked. After a few performances I changed the
concept a bit
and removed the controls from the in-world instrument (only left the
visual
representations) and moved this functionality into a HUD. I had had a
hard time
during performances telling the audiences not to click the buttons all
the time
and not to stand between me and my instrument - something nobody
deliberately
did in order to annoy me, but because nobody is acquainted with an
Onomatophone.
Violins, Pianos and Guitars are well known and nobody dares to touch
them
without invitation, but this is not the case with an experimental
instrument
where it is not even obvious at first sight that this IS an instrument.
In
order not to make this a solo-piece for me, I extended the
instrumentarium and
created a special HUD for Miulew to do the vocal/solo role, so the
general arc
of tension for the whole song would not have to rely on me alone
remote-controlling loops. The rest of the orchestra has HUDs to add
percussive
spice to the whole thing.
((((((((((((((((((
FRAGULA
))))))))))))))))))
composer: Björn Eriksson (aka miulew takahe), june 2007.
The piece is a play with words “fragment”, “fragile”, “fragula” and “Dracula”. The visual part of this piece is made from small and big movements and animations of avatar while having the sound sack being colored in different colours.
One
of the major ideas
about this piece is to
have the orchestra to wander from a fragile and fragmented digital
synthezised
sound texture into a more analog acoustic and not so fragmented sound
texture,
and then come back to where it all started. This is aurally symbolized
in the
granulated synthezised sounds of sine waves, square waves and sawtooth
shaped
sounds. Also arpeggiated synthetic figures then gradually
transforms into
the sounds of an old harmonium with
unprecise playing. There is also a transitional sound in between the
digital
and analog sound sources where a time stretched harmonium sounds gets
this
role. There is three groups of players in this piece as the different
sounds
forms chordal sound textures. Bingo Onomatopoeia/Andreas Müller
made these
programming of both sounds and animations for HUDs.
(((((((((((((((( RIENSENRAD
))))))))))))))))
composer: Jeremy Owen
Turner (aka wirxli flimflam), 2007
This
timbrally maximalist composition is an homage to all the composers
throughout
history that have either lived, worked or premiered any of their own
compositions in Vienna. Structurally speaking, this composition can be
seen as
a hypermodernist and mechanistic "proof-of-concept" rather than a
Romantic style composition with a clearly defined programmatic
narrative with a
Schenkarian tonal resolution hierarchy.
The "real" Riesenrad is actually Vienna's
largest
family-sized Ferris Wheel and a familiar tourist attraction. In
addition to
virtual clasical instruments, the "modernists" have a special HUD
interface where they can improvise using 24 recycled samples from
various
composers affiliated with Vienna. Another unique feature of this
orchestral
opus for Second Life is the fact that the composer/conductor is also
responsible for producing classical drone/engine sounds from an
exclusive HUD
interface. So in this sense, the composer/conductor is also a performer
in
realtime.
((((((((((((((((((( AVATARS BREW
)))))))))))))))))
composer: Leif Inge (aka gumnosophistai nurmi )
Avatars Brew is a composition made by Gumnosophistai for Avatar Orchestra Metaverse. Avatars Brew has a lose sonic framework losely based on 9 Beet Stretch, a massive soundscape made by augmenting Ludwig van Beethovens 9th Symphony to 24 hours (www.expandedfield.net). Within this frame each member of the orchestra will play with the framework and a dedicated choice of all other sources of sounds and animations available live through environment or inventory. The hint in the title to Miles Davis is to inspire the members to listen, improvise and rehearse on stage.