"Kilgore" for two performers and a game system by Marko Ciciliani (2017/18, trailer). Two performers interact via two instances of the same game; their actions mutually the other performer's game. An extensive 3D landscape works at the same time as additional instrument and score. Performers have to fullfill concrete tasks and goals.
"The Missing piece" for solo instrumentalist as gamer by Alyssa Aska (2019), clarinet: Szilard Benes. "The Missing piece" was commissioned as an artistic response to a paper by Olli Tapio Leino at the 2019 Gappp Symposium. The paper, titled "Performing Profound Boredom in Euro Truck Simulator 2 Multiplayer: An existential-ludological perspective on computer games, performance an authenticity" was presented to me and I was instructed to write a musical composition as a response. Two of the themes that I identified with in the paper were the idea of non-games, or boring games, games without a perceivable goal, and also the idea of empathizing with a non-human performer. Therefore, I created a game in which the goal of the game play is not clear, but the player is guided, or encouraged, to have certain engagements in the game." (Alyssa Aska)
"game_over_v0.3.0" by Christof Ressi, clarinet: Szilard Benes. "game_over_v0.3.0" is a game piece based on a 2D open world design. There are no specific rules or goals to pursue. The goal is instead to explore the 2D world with its varying environments and specific options to interact and produce and play with the sound material.
"Atomic Etudes" by Marko Ciciliani, a game-based work for Monome and SuperCollider, composed in 2016, performed by Marko Ciciliani. This work was inspired by a visit to the Nevada Test-Site Museum in Las Vegas in summer 2016. The piece combines the paradoxical coincidence of gambling and nuclear tests – roulette and atomic chain reactions. Ciciliani uses a Monome as display and interface which consists of 16 by 16 led lamps. Due to this "crude" resolution the Monome resembles early computer games. – "Atomic Etudes" was commissioned by Benjamin van Esser
"Attractive Correlations" by Kosmas Giannoutakis, a Concert installation for variable number of instrumentalists, microphonists, audience and computer music system (2017, fragment of 3 minutes length), performed by Lorenzo Derinni – violin, Matej Bunderla-Havaj – saxophone, Johannes Feuchter – bass clarinet, Artemi-Maria Gioti – microphonist, Michele Seffino – microphonist, Davide Gagliardi – microphonist and audience members. "Attractive Correlations" explores a connectionist paradigm for music creation through a hybrid presentation form combining concert and installation. The concert hall is transformed into an acoustic arena by a multi-loudspeaker setup, in which instrumentalists, microphonists and audience may move about and interact through the medium of sound. The computer music system dynamically generates unpredictable sonic streams and diffuses the sound of the instrumentalists by means of digital networks inspired by neuronal processing. The microphonists react to the sonic activities of the instrumentalists and the audience by approaching them and pointing their microphones towards the sound sources of interest. Sounds from audience members perturb the fragile and delicate equilibria in the generative local sub-networks, while the sounds of the instrumentalists modulate some plasticity parameters of these networks, modifying their generative character. The music emerges from the improvisatory interactions of all human agents, with the instrumentalists and adventurous audience members trying to win the favor of the microphonists and thus gain influence over the sound generation and diffusion by the computer music system.
"Tympanic Touch" by Marko Ciciliani, a multisensory work for two performers and a game system (2017, fragment of 6 minutes length), performed by Barbara Lüneburg and Marko Ciciliani. The title "Tympanic Touch" refers to the tympanic skin of the human hearing system. The piece focusses on sounds that are produced with materials that have very different surface characteristics: smooth, soft, shaggy, rough etc.. The intention of the piece is to offer the experience of haptic sensations via various senses, hence it is referred to as a multi-sensorial piece. At the basis of this work lies a game system with points and winners. However, the information about the current score is only accessible to the performers on their tablets. There they also get information about their next tasks in the piece. In the foreground of our research interest stood here, if following a competitive game and pursuing goals in a performance piece influences interaction between the players and the perception of the audience.
Ergodic and Emergent Qualities of Real-Time Scores. Anna & Marie and Gamified Audiovisual Compositions
Published in: Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20, Hamburg.
IRMA (Interactive Real-time Measurement of Attention). A method for the investigation of audiovisual computer music performances.
Click here for a supplementary graphic:
Collated data of Kilgore
International Computer Music Conference, June 2019, NYU, New York.
Proceedings of the 2019 International Computer Music Conference.
A Polar Diagram for the Analysis of Gamified Audiovisual Works
November 3, 2018
Between Art and Game: Performance Practice in the Gamified Audiovisual Artworks of GAPPP
October 3, 2018
Peer reviewed and published at The Computer Games Journal, Springer Science.
Between ‘Ludic Play’ and ‘Performative Involvement’:Performance Practice in Audiovisual Gamified Multimedia Artworks
Ludo18, Ludomusicology Conference Leipzig, Germany; April 13, 2018
Published at the online journal econtact! 20.2 – Canada
A model of “performative involvement” in gamified audiovisual artworks is introduced that describes how agencies afforded to the performer through the design of musical or visual interaction may influence the player’s range of expression, artistic and emotional involvement and meaning-making.
Marko Ciciliani and Barbara Lüneburg
Gamified Audiovisual Works – Composition, Perception, Performance
Seoul International Computer Music Festival/Korean Electronics-Acoustic Music Society’s Annual Conference Gwangju, Korea; October 25, 2017
Published in: Emille, the Journal of the Korean Electro-Acoustic Music Society (2018)
Token of Enunciation in Multimedia Performance
Seoul International Computer Music Festival/Korean Electronics-Acoustic Music Society’s Annual Conference Gwangju, Korea; October 24, 2017
October 17, 2017 International Computer Music Conference Shanghai, China
Published in: Conference proceedings: 2 0 1 7 I C M C / E M W
Regelbrüche komponieren - Kompositionen zwischen Musik und Videospiel
(in German language)
Published in: MusikTexte 155, 2017
Julian Kämper: Gameboys. Komposition zwischen Musik und Videospiel Radio feature at BR KLASSIK Horizonte, 18.05.2017.
"Tonify" by Martina Menegon and Stefano D’Alessio, an interactive audio-visual game for two participating audience members (2017), performed by the artists.
The ‘instrument’ the performers use is their own face. The interface, although highly technical and sophisticated is easy to understand and to work with. No prior education is needed for the performers actions which is to ‘contort’ their face in the right way – by imitating the emoticon displayed on their screen – to score points. The performers stand in a competition to each other, in an ‘athletic’ contest measuring the best manipulation of their face muscles in combination with the fastest respond time. Menegon’s and D’Alessio’s main goal was to create an “interaction with the audience” and solve the question of how to make this interaction a game, “how to make it funny to watch, entertaining to watch, but also [funny] to do”. (notes on "Tonify" by D'Alessio and Mengon 2017).
"Chemical Etudes" by Marko Ciciliani, a multisensory work for Monome and Supercollider (2017, fragment of 12 minutes length), performed by Barbara Lüneburg and Marko Ciciliani.
GAPPP is funded by the Austrian Science Fund FWF as project PEEK AR 364-G24.