Hostname: page-component-8448b6f56d-m8qmq Total loading time: 0 Render date: 2024-04-19T16:00:01.724Z Has data issue: false hasContentIssue false
  • English
  • Français

massMobile: towards a flexible framework for large-scale participatory collaborations in live performances

Published online by Cambridge University Press:  26 March 2013

Nathan Weitzner ,
Jason Freeman ,
Yan-Ling Chen  and
Stephen Garrett
Nathan Weitzner*
Affiliation:
Georgia Tech Center for Music Technology, 840 McMillan St, Atlanta GA 30332-0456, USA
Jason Freeman*
Affiliation:
Georgia Tech Center for Music Technology, 840 McMillan St, Atlanta GA 30332-0456, USA
Yan-Ling Chen*
Affiliation:
Georgia Tech Center for Music Technology, 840 McMillan St, Atlanta GA 30332-0456, USA
Stephen Garrett*
Affiliation:
School of Interactive Computing, Georgia Tech, 85 Fifth Street NW, Atlanta GA 30332-0760, USA
*
E-mail: nweitzner3@gatech.edu; jason.freeman@gatech.edu; ychen450@gatech.edu; stephen.garrett@cc.gatech.edu
E-mail: nweitzner3@gatech.edu; jason.freeman@gatech.edu; ychen450@gatech.edu; stephen.garrett@cc.gatech.edu
E-mail: nweitzner3@gatech.edu; jason.freeman@gatech.edu; ychen450@gatech.edu; stephen.garrett@cc.gatech.edu
E-mail: nweitzner3@gatech.edu; jason.freeman@gatech.edu; ychen450@gatech.edu; stephen.garrett@cc.gatech.edu
Get access Rights & Permissions [Opens in a new window]

Abstract

massMobile is a client-server system for large audience participation in live performances using mobile devices. It allows for rapid development, deployment and iterative experimentation in participatory design, while minimising technical and logistical overhead. It was designed to flexibly adapt to a variety of participatory performance needs and to a variety of performance venues. It allows for real-time bi-directional communication between performers and audiences utilising existing 3G, 4G or WiFi networks. Audience members access massMobile through a smartphone-optimised web application utilising common web standards. An offsite server passes data between the audience and the performer(s) and stores the data for later analysis. In this paper, we discuss the goals, design and implementation of the framework, and we describe several projects realised with massMobile.

Type
Articles
Information
Organised Sound , Volume 18 , Special Issue 1: Audiences and Participants , April 2013 , pp. 30 - 42
Copyright
Copyright © Cambridge University Press 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Allison, J. 2011. Distributed Performances Systems using HTML5 and Rails. Proceedings of 26th Annual Conference of the Society for Electro-Acoustic Music in the United States (SEAMUS), Miami, USA.Google Scholar
Auslander, P. 1999. Liveness: Performance in a Mediatized Culture. New York: Routledge.Google Scholar
Baird, K. 2005. Real-Time Generation of Music Notation via Audience Interaction Using Python and GNU Lilypond. Proceedings of the 2005 International Conference on New Interfaces for Musical Expression. Vancouver, Canada, pp. 240–1.Google Scholar
Barbosa, Á. 2003. Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation. Leonardo Music Journal 13: 53–59.Google Scholar
Brown, E. 1999. Transformations and Developments of a Radical Aesthetic. Current Musicology 67/68: 39–57.Google Scholar
Burk, P. 2000. Jammin’ on the Web: A New Client/Server Architecture for Multi-User Musical Performance. Proceedings of the 2000 International Computer Music Conference. Berlin: ICMA, pp. 117–20.Google Scholar
Cage, J. 1961. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press.Google Scholar
Carpenter, L., Carpenter, R. 1999. Audience Participation. In T. Druckrey, ed., Ars Electronica: Facing the Future. Cambridge, MA: The MIT Press.Google Scholar
Claypool, M., Claypool, K. 2006. On Latency and Player Actions in Online Games. Communications of the ACM 49(11): 40–45.CrossRefGoogle Scholar
Control. 2009. http://charlie-roberts.com/Control.Google Scholar
Dahl, L., Herrera, J., Wilkerson, C. 2011. TweetDreams: Making Music with the Audience and the World Using Real-Time Twitter Data. Proceedings of the International Conference on New Interfaces for Musical Expression, Oslo, Norway.Google Scholar
de Moraes, L. 2004. Ashlee Simpson and That Lip-Syncing Feeling. The Washington Post (26 October), p. C01. Accessed on 14 September 2012 from www.washingtonpost.com/wp-dyn/articles/A62938-2004Oct25.html.Google Scholar
Desurvire, H., Caplan, M., Toth, J.A. 2004. Using Heuristics to Evaluate the Playability of Games. In E. Dykstra-Erickson and M. Tscheligi (eds), CHI ‘04 Extended Abstracts on Human Factors in Computing Systems. New York: CHI pp. 1509–1512.CrossRefGoogle Scholar
Dylan, B. 1974. The Band: Before the Flood. Los Angeles: Asylum Records.Google Scholar
Feldmeier, M., Paradiso, J.A. 2007. An Interactive Music Environment for Large Groups with Giveaway Wireless Motion Sensors. Computer Music Journal 31(1): 50–67.Google Scholar
Freeman, J., Disalvo, C., Nitsche, M., Garrett, S. 2011. Soundscape Composition and Field Recording as a Platform for Collaborative Creativity. Organised Sound 16(3): 272–281.Google Scholar
Freeman, J. 2008. Extreme Sight-Reading, Mediated Expression, and Audience Participation: Real-Time Music Notation in Live Performance. Computer Music Journal 32(3): 25–41.Google Scholar
Freeman, J. 2010. Web-Based Collaboration, Live Musical Performance and Open-Form Scores. International Journal of Performance Arts and Digital Media 6(2): 149–170.Google Scholar
Gresham, M. 2012. Silenced: ASO used as Musical ‘Prop,’ Audience Hears Recorded Music at Il Divo Concert. ArtsATL. Accessed on 14 September 2012 from www.artsatl.com/2012/08/atlanta-symphony-forced-pantomime-pre-recorded-tracks-sunday's-il-divo-concert.Google Scholar
Hasse, J. 1986. Moths. Euclid, OH: Visible Music.Google Scholar
Heaton, C. 1992. Air Ball: Spontaneous Large-Group Precision Chanting. Popular Music and Society 16(1): 81–83.Google Scholar
Jaimovich, J., Ortiz, M., Coghlan, N., Knapp, R.B. 2012. The Emotion in Motion Experiment: Using an Interactive Installation as a Means for Understanding Emotional Response to Music. In Proceedings of the International Conference on New Interfaces for Musical Expression, Ann Arbor, MI, USA.Google Scholar
Kim, H. 2011. Moori: Interactive Audience Participatory Audio-Visual Performance. In Proceedings of the 8th ACM Conference on Creativity and Cognition. Atlanta, GA: ACM, pp. 437–8.Google Scholar
Lee, S. 2012. Audience Participation Using Mobile Phones as Musical Instruments (master's thesis). Georgia Institute of Technology Atlanta, USA.Google Scholar
Levin, G. 2005. A Personal Chronology of Audiovisual Systems Research. In Proceedings of the International Conference on New Interfaces for Musical Expression. Vancouver, BC, Canada, pp. 2–3.Google Scholar
Lewis, G.E. 2000. Too Many Notes: Computers, Complexity and Culture in Voyager. Leonardo Music Journal 10: 33–39.Google Scholar
Mathew, A., Rogersand, Y., Lloyd, P. 2011. Post-It Note Art: Evaluating Public Creativity at a User Generated Art Installation. In Proceedings of the 8th ACM Conference on Creativity and Cognition. Atlanta, GA: ACM, pp. 61–70.Google Scholar
Maynes-Aminzade, D., Pausch, R., Seitz, S. 2002. Techniques for Interactive Audience Participation. Proceedings of the IEEE International Conference on Multimodal Interfaces. Pittsburgh, PA: IEEE Computer Society, pp. 15–20.Google Scholar
Mrmr. 2012. http://mrmr.noisepages.com.Google Scholar
Neda, Z., Ravasz, E., Brechet, Y., Vicsek, T., Barabasi, A.L. 2000. Self-Organizing Processes: The Sound of Many Hands Clapping. Nature 403: 849–850.Google Scholar
Negativland. 2012. Over the Edge Radio. www.negativland.com/ote.Google Scholar
Neuhaus, M. 1990. Audium, Projekt für eine Welt als Hör-Raum. In E. Decker and P. Weibel (eds), Vom Verschwinden der Ferne: Telekommunikation und Kunst. Cologne: Du Mont.Google Scholar
Neuhaus, M. 1994. The Broadcast Works and Audium. In Zeitgleich. Vienna: Triton. http://auracle.org/docs/Neuhaus_Networks.pdf.Google Scholar
Oh, J., Wang, G. 2011. Audience-Participation Techniques Based on Social Mobile Computing. Proceedings of the International Computer Music Conference. Kirklees, UK, pp. 665–72.Google Scholar
Oh, J., Wang, G. 2011. Converge: An Omni-Biographical Composition. Proceedings of Korean Electro-Acoustic Music Society's 2011 Annual Conference, Seoul, Korea.Google Scholar
Olmos, A., Brul, M., Bouillot, N., Benovoy, M., Blum, J., Sun, J., Lund, N., Cooperstock, J. 2009. Exploring the Role of Latency and Orchestra Placement on the Networked Performance of a Distributed Opera. 12th Annual International Workshop on Presence, Los Angeles, USA.Google Scholar
Pandora. 2012. www.pandora.com.Google Scholar
Parse. 2012. www.parse.com.Google Scholar
Smith, A. 2012. Nearly Half of American Adults are Smartphone Owners. Pew Internet & American Life Project (1 March 2012). Accessed on 12 June 2012 from http://pewinternet.org/Reports/2012/Smartphone-Update-2012.aspx.Google Scholar
Spotify. 2012. www.spotify.com.Google Scholar
Stockhausen, K. 1957. KlavierStück XI. London: Universal Edition.Google Scholar
Stockhausen, K. 2004. Electronic and Instrumental Music. In C. Cox and D. Warner (eds), Audio Culture: Readings in Modern Music. New York: Continuum, pp. 370–380.Google Scholar
TouchOSC. 2012. http://hexler.net/software/touchosc.Google Scholar
Wang, G. 2009. Designing Smule's iPhone Ocarina. In Proceedings of the International Conference on New Interfaces for Musical Expression, Pittsburgh, USA.Google Scholar
Whitacre, E. 2012. The Virtual Choir. http://ericwhitacre.com/the-virtual-choir.Google Scholar
Young, John P. 2001. Networked Music: Bridging Real and Virtual Space. Organised Sound 6(2): 107–110.Google Scholar
Zorn, J. 2002. Cobra: John Zorn's Game Pieces, Vol. 2. Tzadik Records. Cat. # 7335.Google Scholar