The TCP/Indeterminate Place Quartet: a Global Hyperorgan Scenario

Robert Ek, Stefan Östersjö, Federico Visi, and Mattias Petersson

Proceedings of the International Conference on New Interfaces for Musical Expression

Abstract

This performance with the TCP/Indeterminate Place quartet activates a telematic connection in which two concert hall pipe organs, in two different locations in Europe, are controlled remotely. It is a realization of a new scenario in the Global Hyperorgan project, in which the quartet is divided in two duos, situated in different locations. Such interactions are emblematic of the intersections of the technical, artistic and social aspects at the heart of the Global Hyperorgan and illustrative of the thick and pervasive mediating dynamics endemic to all musicking. Global Hyperorgan participants are compelled to develop new models of instrumentality for new modes of musicking. TCP, in the name of the quartet, refers to the combination of Telepresence and Copresence, in the neologism Tele-Copresence, as an expression of our central interest in the sense of presence in musical interactions enabled by telematic performance. By Indeterminate Place, we refer to the experience of place in tele-copresence as sometimes characterised by a mediated, liminal space. The Global Hyperorgan contributes a particular potential for exploration of concert spaces that carry particular acoustic affordances, as well as socio-historical characteristics. In tele-copresence, these are at times molded together in Indeterminate Place.

Citation

Robert Ek, Stefan Östersjö, Federico Visi, and Mattias Petersson. 2021. The TCP/Indeterminate Place Quartet: a Global Hyperorgan Scenario. Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: 10.21428/92fbeb44.7714e834 [PDF]

BibTeX Entry

@inproceedings{nime2021_music_16,
 abstract = {This performance with the TCP/Indeterminate Place quartet activates a telematic connection in which two concert hall pipe organs, in two different locations in Europe, are controlled remotely. It is a realization of a new scenario in the Global Hyperorgan project, in which the quartet is divided in two duos, situated in different locations. Such interactions are emblematic of the intersections of the technical, artistic and social aspects at the heart of the Global Hyperorgan and illustrative of the thick and pervasive mediating dynamics endemic to all musicking. Global Hyperorgan participants are compelled to develop new models of instrumentality for new modes of musicking. TCP, in the name of the quartet, refers to the combination of Telepresence and Copresence, in the neologism Tele-Copresence, as an expression of our central interest in the sense of presence in musical interactions enabled by telematic performance. By Indeterminate Place, we refer to the experience of place in tele-copresence as sometimes characterised by a mediated, liminal space. The Global Hyperorgan contributes a particular potential for exploration of concert spaces that carry particular acoustic affordances, as well as socio-historical characteristics. In tele-copresence, these are at times molded together in Indeterminate Place.},
 address = {Shanghai, China},
 articleno = {16},
 author = {Robert Ek and Stefan Östersjö and Federico Visi and Mattias Petersson},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.21428/92fbeb44.7714e834},
 editor = {Eric Parren and Wei Chen},
 issn = {2220-4806},
 month = {June},
 title = {The TCP/Indeterminate Place Quartet: a Global Hyperorgan Scenario},
 track = {Music},
 url = {https://doi.org/10.21428/92fbeb44.7714e834},
 year = {2021}
}