![]() The research analyzes different phases of the system development: design, prototyping and tests. The art- based approach, in which the prototype of the system itself is used as the main source to extract the data and filter the results, is supported by other qualitative strategies such as some techniques that belongs more to a qualitative methodology: the focus group and the interview. A mixed methodology has allowed to create a customized research protocol based on project’s needs. Even the developed prototype has some random processes, used as tools to prevent the public and artist from gaining too much awareness of correspondences between sensors and music parameters. The use of the random factor as an element used in the music process itself during composition as well as in the song's execution becomes one of the foundations of Cage's music and not just that (“Music as a Gradual Process" (Reich, 1968), "Silence" (Cage 2010)). Taking into consideration the evolution of the audience’s role related to its interaction with art (including: "Take Today - The Executive As Dropout" (McLuhan 1972), "Experimental Music" (Nyman 1974), "Virtual Music" (Duckworth 2005), "Music as Social Life" (Turino 2008)), then is presented a review of some of the most important examples of contemporary studies on the subject. The theoretical framework for the project builds upon one of the main issues raised in the 20th century by people such as Umberto Eco ("Opera Aperta" 1962) and Roland Barthes ("The Death of the Author" 1968): the opening of artistic products from their composers to a process of interaction and public interpretation. The developmental and artistic process is not merely the subject of the analysis, it also provides the main methodological framework in the context of an arts-based research design. These fundamental issues are analyzed through the design, development and testing of the prototype. The purpose is to investigate ways in which an audience can act to influence the sound of the artist and what impact it may have on the artistic content and on the formal aesthetics of music conceived through this process. The focus of the project is on the interaction between artist and audience through data flows generated by the control environment and music signals of the performance. These sensors are able to generate non-sound data streams only that are filtered and processed by a main Max/MSP patch and integrated into artist’s music setup as MIDI messages. This can be done through the use of various types of sensors, mostly environment-based, such as distance sonar, temperature and humidity, movement, video matrices, accelerometers, compasses, laser wire-traps, positioned in the concert venues, trying to limit their invasiveness. The interaction process is designed to occur naturally, conditioned by the performance and as little as possible by the control environment. This control environment is designed to provide an audience with the ability to interact directly with the musical content and to make real-time changes to sounds generated on stage during the live performance. As a main research tool a prototype of a sound interaction system called SoDa Matrix was developed. The following research focuses on the development of a study in the field of interactive music and the participatory role of an audience during a live music performance. These digital re-readings and re-codings of experimental poems further highlight the importance of the materialities of experimental writing, integrating self-awareness in the modes of exchanges between literature, music, animation, performance, and technology. In the proposed performance we will use the Digital Archive of Portuguese Experimental Literature (as a framework, appropriating its database assets, remixing its contents, as well as the techniques and methods they imply, stimulating the understanding of the archive as variable and adaptable. In our paper we describe the project's concept and methodology. ![]() We have implemented and performed with this ecosystem in live events, demonstrating its feasibility. With this approach, media designers have the freedom to choose a set of applications and devices that best suit their needs and are not restricted to a unique environment. Common Spaces is a framework based on interoperability and data flow, a network of virtual wires connecting applications that “talk” to each other sharing resources through technologies such as OSC or Syphon. This collaborative environment provides a flexible interface for performers to negotiate, share, and mix media, applications, and devices. ![]() A multimodal media ecosystem was designed to respond to the requirement of a specific performance - how to mix multiple applications into a single environment. Common Spaces is an interface for real-time media convergence and live performance combining media, applications and devices.
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