ethernet orchestra


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Peer Reviewed Book chapters and Journal Articles
Mills, R. (2014) The Metaphorical Basis of Perception in Network Music Performance. In A. Abrahams & H. V. Jamieson (Eds.) Cyposium: The Book, Brescia, Italy, Link Editions. Forthcomming.

Mills, R. & Beilharz, K. (2014) The Networked Unveiled. Evaluating Tele-Musical Interaction. In L. Candy & S. Ferguson (Eds.), Interactive Experience in the Digital Age: Evaluating New Art Practice. London, Springer. More information.

Mills, R. & Beilharz, K.A. (2012) ‘Listening Through The Firewall: Semiotics of Sound in Networked Improvisation’ in Organised Sound: An International Journal of Music and Technology, Vol.17 No.1 Special Issue ‘Networked Electroacoustic Music’, Cambridge University Press. pdf

Conference Papers
Mills, R. (2011) “Tele-Improvisation: Cross-Cultural Creativity in Networked Improvisation”, in Proceedings of ACM Creative and Cognition,Atlanta, USA, 3-6 November 2011. pdf

Mills, R. (2011) “Ethernet Orchestra: Interdisciplinary Cross-cultural Interaction in Networked Improvisatory Performance”, International Symposium on Electronic Arts, Istanbul, Turkey, 14-21 September 2011.pdf

Mills, R. (2010) “Dislocated Sound: A Survey of Improvisation in Networked Audio Platforms”, in Proceedings of New Interfaces for Musical Expression, Sydney, Australia, 15-18 June 2010. pdf

Conference Presentations & Performances

Conference on Distance and Interaction 2013, University of Virginia, Charlottesville, United States.

Cyposium of Cyberformance 12th October 2012: an online symposium on Cyberformance.

TADAEX 2nd Tehran Annual Digital Art Exhibition, 12th July 2012.

ACM Creativity and Cognition Conference , Atlanta, Georgia, 3-6th November 2011. One of twelve selected papers for presentation at the graduate student symposium. More details.

ISEA2011 – Paper presentation, 15th September 17:00-18:40 Sabanci Centre Room 4, Sabanci University, Istanbul. ISEA conference and festival ran concurrently to the Istanbul Biennale. View paper.

DRHA (Digital Resources for Humanities and Arts) Ningbo, China, 4-7th September, 2011. Abstract.

Paper presentation included a live networked performance featuring Chinese Guzheng musicians Tao Han and Mao Danheng playing with the Ethernet Orchestra. Unfortunately the performance was abandoned due to Internet access problems resulting in a live collocated improvisation. Listen to excerpt.

NIME++2010 Dislocated Sound: A Survey of Improvisation in Networked Audio Platforms pdf can be downloaded from here.

5th International Conference on Multimodality 2010, University of Technology, Sydney – Paper presentation and live improvised performance with Prof. Theo van Leeuwen.

ARC Cultural Research Network Colloquium, University of Technology, Sydney, Wednesday 9th December, 2009.

Why, how, to/by whom and where does listening take place in your research practice (One day workshop).

Participant Statement.

Improvised Listening: The Role of Listening in Online Networked Improvisation.

Exploring improvisation as a medium for remote cross cultural musical collaboration not only necessitates, as Roland Barthes famously stated, hearing as “a physiological phenomenon” but “listening as a psychological act” (Barthes,1976). This idea resonates with collaborations in Internet audio platforms, in that signifiers present in
a ‘local’ face to face jam session are not available to remote networked musicians. Ultimately this requires them to engage in what Pauline Oliveros describes as, ‘inclusive listening’ where “many places at once are treated as one rather than many.” (LaBelle, 2006). Collaborators can also face issues of unfamiliar, dislocated listening, augmented by their own culturally tinted hearing.

This kind of ‘inclusive listening’ takes place as multiple threads, “lending significance to the relational and associative connections found between the many.” (LaBelle, 2006). Such threads are the technological transportation and receiving of sound as binary code in cyberspace, the ‘psychological act’ of the interpretation of that sound and the creative musical interaction with it.

Commonly, improvisation in online audio platforms finds the musician “listening for the purpose of focusing on the qualities of the sound itself (e.g., pitch, timbre) independent of its source or meaning.” (Chion, 1994). This is not to say that source or meaning are irrelevant, only that one is informed of these by rudiments such as pitch and timbre, to which texture could also be added. Indeed this interest in remote networked improvisation, stems from the hypothesis, that it is through exploring these rudiments that new hybrids in improvisation can occur.

Barthes, R, (1985) The Responsibility of Forms, trans. Richard Howard, Hill and Wang.
New York, p. 246.
LaBelle, B, (2006) Background Noise: Perspectives on Sound Art. Continuum, New York,
Chion, M, (1994) Audio-Vision:Sound on Screen, trans. Claudia Gorbman. Columbia
University Press. New York, p. 223.

A research portal of documented case studies and data analysis is currently under construction and available to view by appointment.