4/PHONES Collective (2019, Earth) – is an international group of artists that met and collaborated in the MusicMakers Hacklab at CTM festival in Berlin 2019. They come from different countries and have different backgrounds, specializing in music composition, performance, sound art, visual art, engineering, programming and live coding. They are: Maja Bosnić (1985, Serbia), Juan Olaya (1984, Colombia), Justyna Stasiowska (1987, Poland), Hasan Mashni (1986, Palestine) and Tomy Herseta (1992, Indonesia), and Arsenije Savic (1992, Serbia) took over the web app programming for the audience for all other and upcoming performances, after its premiere. “There is no performance art without the audience. There is no audience without smartphones. Hence, in order to create interactive experience for everyone present, we have composed an interactive performance for participating audience with smartphones.”
Menuet4phoneS (2019) interactive performance for audience with smartphones
#audience #smartphones #playing #buttons #instructions #interaction
There is no performance art without the audience. There is no audience without smartphones. Hence, in order to create interactive experience for everyone present, we have composed an interactive performance for participating audience with smartphones.
By opening our web page, the audience turns their phones into a new music instrument. Following video instructions, audience gradually becomes familiar with their new purpose and performs with artists creating a feedback loop of sounds and actions building an interactive soundscape.
The concept of the performance was developed by the practice of working with different mediums that could encapsulates both audience and performer, while keeping the grace, instantaneity and playfulness of the moment. Each of the mediums would create a language for bilateral communication with the audience, that the performer could then bias to build the structure of the performance. The smartphone plays a very practical role in creating these mediums
The space itself, also takes an important role of the performance. By recording the sound from the audience’s phone speaker, the signal would traverse through the acoustics of the space before it’s being captured by the microphones, then processed and amplified through the PA. This process will go on for several loops, thus allowing the sound to interacts and being affected by the acoustic quality of the space. so, every performance will be unique depending on the behavior of the audience and the characteristic the space.
The performers create a number of mediums that can be interlaced to create the performance as a hole. These mediums manifest them self on three level:
The performance’s starting point is the extended ambient sound of the space. The performance starts by playing recorded soundscapes of everyday life and use of the space. This acts as the background sound for the soundscape that will is slowly created when the phones of the audience start playing yet adding more depth and complexity to the soundscape. At different key points the soundscape of the audience is sampled the feedback mics that are controlled by one of the performers and are then manipulated and played back to on the stage speakers. The feedback line is meant to played periodically to motivate a musical or rhythmical conversation with the audience.
Beamed Visuals are an important part of the hole performance as they a used to conduct the audience as well as to give video feedback from the user input on the network. The Visuals are also used at the being to give a brief set of instruction or ques to the audience that will help lead the structure of the planed peace. The visual element is played by performer that sets the hole visual ambient of the peace as well as control over the audience inputs that coming over network.
There is a video of a fragment of our Live Coding visuals generated using the tool Hydra and using Object-Oriented Programming which were created by our member of the collective Juan Olaya. The video can be seen in the following link: Live Coding Visuals
The digital level of the performance relies heavily on smartphones, and is the basis for the two way communication with the audience. The phones also act as a speaker and simple musical instrument. For the performance a network and server are set up that both performers and audience can connect to. This connection is then used to communicate different information:
- Samples and sound data to the phone
- User inputs and phone clicks
- Musical events and triggers
during the hole performance both, the server and the flow of information are played with a manipulated with by any of the performers. Thus, utilizing the hole network as a musical instrument, and is used to set the structure of the performance.
Menuet4phoneS collective has had several performances in 2019:
MusicMakers Hacklab Grand Finale, CTM Festival, HAU2, Berlin, Germany – 3.2.2019:
There is a video report of the performances of the CTM 2019 Festival which includes our performance 4/phones which can be seen in the following link (DW Indonesia) Apa Jadinya Ketika Musik Bertemu Sains dan Teknologi?
Webiz Conference, Zrenjanin, Serbia – 31.3.2019:
There is a video footage of a fragment of our performances in the Webiz Conference which can be seen in the following link Webiz Video
PHONES:ON – new music with smartphones, Belgrade, Serbia – 27.6.2019 and Novi Sad, Serbia – 15.12.2019:
- Power plugs
- Extension cables
- How many computers are we bringing?
- What else are we bringing?
- Video projection (any specific requests?)
- Sound system
- 2pcs dynamic microphone (+stand & XLR to XLR Long cable), 1pcs condenser microphone (+stand & XLR to TRS long cable)
Maja Bosnić (1985, Serbia) earned a PhD in music composition at Goldsmiths, University of London (United Kingdom), supervised by prof. Roger Redgate. She writes pieces for solo, chamber, ensemble and orchestra performances, as well as projects for electronics, multi-media and interactive settings with audience participation. Bosnić’s works have been performed in music and art festivals, such as: Impuls (Austria), CTM Festival, The International Ferienkurse fur Neue Musik Darmstadt, The Festival of Young Artists Bayreuth (Germany), Music Here and Now, International Review of Composers, April Meetings, KOMA – Compositions of Young Authors (Serbia), International Youth Arts Festival in Kingston upon Thames (United Kingdom), Sites + Subjects in Plovdiv (Bulgaria) and Timsonia 2018 New Music Festival in Timisoara (Romania). She was awarded scholarship in memoriam Iannis Xenakis to have a work premiered by Klangforum Wien at Delian New Music Academy in 2019.
More info: http://majabosnic.net
Juan Olaya (1984, Colombia) obtained the degree of Computer Engineer from the Pontificia Universidad Javeriana in Bogotá Colombia in 2011, the Master’s Degree in Cognitive Systems and Interactive Media from the Pompeu Fabra University of Barcelona Spain in 2014. From 2016 until now he has worked as a teacher in the university, Escuela de Artes y Letras of Bogota in the Digital Media Engineering program. During his teaching experience he has taught the subjects: Introduction to Programming, Object-Oriented Programming, Computer Graphics, Software Engineering, Artificial Intelligence for Video games and Virtual Reality. Among his research interests are: Human-Computer Interaction, Serious Video Games and Computer Science Education.
More info: https://juanolaya.github.io/CV/CVJuanOlaya.pdf
Justyna Stasiowska (1987, Poland) theorist, translator, sound artist and a PhD student in Performance Studies Department in Jagiellonian University, preparing a dissertation “Noise. Performativity of Sound Perception”. Sound designer for performance and dance, worked with choreographer Magda Ptasznik “Uncannings” for Ujazdowski Castle Centre for Contemporary Art and with Ania Nowak “Future Tongues” for Nowy Teatr in Warsaw. Published in theater journal “Didaskalia”, contemporary music journal “Glissando”, academic sound studies blog “SoundingOut!blog”, academic journals of philosophy “Estetyka i Krytyka”, and other journals published on topic such as: Sonocytology, Remix culture, cut-up, noise, sound aspect of occupying public space, Maryanne Amacher.
Hasan Mashni (1986, Palestine) is a graduate aerospace engineer of the University of Stuttgart and specializes in numerical mathematics. In this field, he has researched and worked with various companies, start-ups, projects, artists, theaters and research institutes (German Aerospace Centre, Uni. Tübingen, Uni. Stuttgart, Rolls-Royce, MBtech, Schwankhalle(Bremen), Staatstheater Stuttgart…). The experience in this field inspires him to seek dynamical interfaces between the theoretical/digital world of mathematics and everyday life. He aims to develop ideas and methods that can act as instruments for interpersonal action and help aspire human emotion. He believes in a technical rationalization that favors social integrity in contrast to economical instrumentalities.
More info: http://www.holyspace.info/
Tomy Herseta (1992, Indonesia) obtained a degree in interior design from Bandung Institute of Technology in 2016. As a designer, he often works within the relationship between human, space, and media. He has been participating in several exhibitions such as Digital Design Weekend, Bandung International Digital Arts Festival, Soemardja Sound Art Project, Bandung New Emergence, London Design Biennale, etc. As a musician, he has been collaborating with other people from various background, from contemporary dance to classical composer. He has been participating in several festivals such as Archipelago Festival (Jakarta), Indonesia Netaudio Festival (Yogyakarta), Mantis Festival (Utrecht), CTM Festival (Berlin), etc. He was awarded a Holland Scholarship from Dutch Ministry of Education, Culture, and Science, and currently studying master in scenography at University of the Arts Utrecht (HKU), he is preparing his thesis with the research subject ranging around interactivity, virtual space, and bias media.
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