Saturday, October 31 2009 11 am SLT
Dress: Costumes and Masks
You are invited to the most unusual Halloween party ever! The AVATAR ORCHESTRA METAVERSE will perform four pieces in Alizarin Goldflake's ORFEO'S ORATORIO. Limited seating--come early! Wear your most outrageous costume and prepare to be astonished by theirs!
The Orchestra is a global collaboration of artists using the SL platform as an instrument itself. Members conceive, design, and build their own virtual instruments which allow them to trigger independent sounds in real time. Visuals and animations are also included, making a performance of the jumping, hovering, dancing, twirling Avatar Orchestra Metaverse a truly spellbinding event.
Orfeo’s Oratorio is a virtual amusement park with an UpperWorld/Underworld theme, featuring other-worldly fountains, gondolas, coracles, dance pose balls, a mirrorlike floor, blue-jetted ferris wheels, and a mysterious changing light. In the Underworld flames shoot up from the floor, sconces crackle, and the fountain drips particle sparks from the ceiling like a giant chandelier.
http://slurl.com/secondlife/Lie/217/176/630
PROGRAMME
Fragula, by Miulew Takahe
Ritual, by Flivelwitz Alsop
PwRHm, by Humming Pera
Wee No Kresh, by Bingo Onomatopeia
**FRAGULA (June 2007)
composed by Bjorn Eriksson (aka Miulew Takahe), Solefea, Sweden
Instruments and Animations designed and built by Andreas Mueller (aka Bingo Onomatopoeia), Regensburg, Germany
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.
**RITUAL (JULY 2009)
Composed by Tim Risher (aka Flivelwitz Alsop)HUD and circle built by Flivelwitz Alsop (Durham, North Carolina), particle shapes designed by Sunn Thunders (Aspen, Colorado)Ritual is a highly ritualized work, all the actions are using gestures together, to create a single unit. I was trying to present an Ur-ritual, symbolizing basic patterns and ideas in all rituals. The sculptures we wear also reflect this - built only using triangles, circles and squares. The music uses small fragments of chant-like sounds which combine into a large whole when played.
**PwRHm (March, 2008)
Composed by Tina Pearson (aka Humming Pera), Victoria, BC, Canada Instruments and field recordings by Andreas Mueller (aka Bingo Onomatopoeia), Regensburg, Germany
Particles by Sachiko Hayashi (aka Goodwind Seiling), Stockholm, Sweden
PwRHm explores electricity and connectivity through the relationship of 2 sets sine tones tuned to the harmonic series of the Alternating Currents of the North American(60Hz) and European/Asian (50 Hz) electric systems respectively; modified field recordings of electric motors and generators from each continent; and the live breath rhythms of the globally dispersed players.
PwRHm uses 4 'instruments' created within the Second Life platform. The instrument sounds are made from sets of short (3- 7 second) sound samples put together in a HUD(Heads Up Display) configuration. Each avatar/player is playing one or more of the instruments designated by their geographic location to make the combined sound of the piece. The globes held by the players are 'receivers' that emit differently coloured particles according to the particular instrument they each play, and the pitch and volume of each sound as it is played. In some ways, PwRHm is an investigation of the musical expressiveness that might be possible with these electrically rooted source sounds through a combination of conducting and telematic improvisation.
**WEE NO KRESH
Composed by Andreas Müller (aka Bingo Onomatopoeia)
Instruments designed and built by Andreas Müller
The Onomatophone was created out of the idea to build an instrument with real 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.
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