1. Netgraph (2010)
Pedro Rebelo

Netgraph is a real-time graphic score work for improvisors. The piece consists of a series of scenes around specific mobile graphic constructions and is designed for network performance. The notation reflects structures and interactions between three players and suggests gestural interpretation to both musicians and audiences. The piece uses the real-time graphics rendering engine PlaySpace developed by Rob King and Pedro Rebelo in the context of the Comedia European Project.

2. Summer Snail (2010)
Felipe Hickmann

“O summer snail you climb but slowly, slowly to the top of Fuji”
These are the opening lines for Summer Snail. They are from a haiku, written by Japanese poet Kobayashi Issa somewhere between the 18th and 19th century. They are the first step in a path full of ramifications, alternative routes leading to textual instructions, graphic notation and new haiku - all the objects of improvisation, of creative engagement to a transient musical context.
The score resembles a board game. A computer network connects two dislocated ensembles. Each of them moves over its individual map, according to cues that lie beyond choice or will - at the performance taking place at the other side, and projecting itself into the local acoustic space.
Sam Hamill says “a great haiku presents - through imagery drawn from intensely careful observation - a web of associated ideas (rensó) requiring an active mind on the part of the listener”. An active mind not only to interpret, but to experience the haiku in its completeness, in its inalienable essence - the essence of a whole universe, contained in a glimpse. Here this experience is the responsibility of the improvisors, whose task is to listen, react, interact and cooperate at every instant.
Along the score, some possible trajectories. One may think of the little snail in its unattainable, yet resolute pursuit for the highest point of Japan. The admirable exercise of patience and tenacity. One may as well forget the reasoning, ignore causes and consequences, and just observe life on its course. Every new haiku is a chance to stop and experience.
 

3. Paulista (2011)
Felipe Hickmann
Rui Chaves

Paulista uses both fixed and mobile streaming technology to construct a translocal musical and sonic performance linking SARC (Belfast/Northern Ireland), LAMI (São Paulo/Brazil) and Paulista Avenue, in the heart of São Paulo’s city centre. The avenue is home to a live webcam, which broadcasts a continuous video stream into an Internet portal. Under the sight of the live camera, a performer engages into a sonic exploration of the area corresponding to this virtual window, in a set of choreographed actions that are part of an audiovisual composition – that includes video footage from the avenue and a trio of musicians on a live stage. A network dramaturgy is thus delineated through the discontinous and extensively assymmetric relationship established between these dislocated nodes: the performer and his lonely exploration of the urban landscape; the musicians in a delicate balance between their prescribed musical gestures and the often unpredictable relationship with that same urban landscape; and the audience in the centre of this interface, building links between the audiovisual experience and its own knowledge of city. The piece uses liveshout, a mobile broadcast software developed by ecliptic labs, with the support of the Comedia European Project.

4. Disparity (For 2 improvisers and several networked computers) (2011)
Julian Jaramillo Arango

 
In Disparity two performers located in different cities follow a set of improvisation instructions in order to establish a network musical communication. The image of each performer on the stage are blended into one, creating an assembled image of the two performances, creating a virtual place where the two sites are present. For each stage the resulting image is different and will be projected in 1:1 scale besides the performer. The video process is driven by what performers play, routing some musical events to video events. Dis-parity uses specialized network  technologies to transmit, receive video, audio and data in a distributed topology. 

Bios
Julian Jaramillo was born in Bogota, Colombia. He received his BA in music composition from Universidad de los Andes and his MA in multimedia from Unicamp University in  Brazil. His work deals with relations between digital media and art music. His electroacoustic music, radio art, video  and instalation pieces have been  performed  in Colombia, Brazil, Spain United States and France. Julian is a phd candidate in Musicology,  part  of Mobile  - a Universidade de São Paulo research group that works in the subject of music and interaction. Julian, also lives and works in São Paulo, Brazil.

Felipe Hickmann is a Brazilian composer and performer, currently conducting PhD research at SARC. He holds a multidisciplinary background, ranging from contemporary and popular music to film and videogames. Felipe has a BA in Music Production and a MPhil in Music Theory and Composition, both awarded by Universidade Federal do Paraná, in Curitiba, Brazil. At SARC, his research tackles the matters of absence and secrecy in network music performance.

Rui Chavesi researches and does creative work in the areas of sound art, performance and networked performance, positioning listening as an evocative process that enables a active dialogue with place. He has worked with fine artists, performers and theatre directors, as a sound designer and sound installation artist.
Rui did his undergrad in media studies, worked in a dance organization called c-e-m : centro em movimento, and did an MA in Sonic Arts with funding from the Fundacao Calouste Gulbenkian. Currently I am pursuing a phd at the Sonic Arts Research Centre under the supervision of Dr. Pedro Rebelo and with funding from Fundacao Ciencia e Tecnologia.