How has Digital Technology changed our perception of musical performance and progress?

Performance: 1) a musical, dramatic, or other entertainment presented before an audience... ) the manner in which or the efficiency with which something reacts or fulfils its intended purpose. !) "inguistics: the actual use of language in real situations, which may or may not fully reflect a spea#er$s competence, being sub%ect to such nonlinguistic factors as inattention, distraction, memory lapses, fatigue, or emotional state.

Human &lement of Performance

'nstrument construction as performance (from production to coding to engineering) )ny D)* software that uses at least +, -it floating point calculations will be capable of processing audio without introducing unwanted distortions, fre.uency response alterations or any other unwanted effect that would be $clearly audible$ so as to sway opinion (D)* *ars /)udio 0yths) 10eyer and 0oran$s study2 was designed to show whether real people, with good ears, can hear any differences between 3high4resolution5 audio and the 66.1#H781 4bit 9D standard. )nd the answer 0oran and 0eyer came up with, after hundreds of trials with do7ens of sub%ects using four different top4tier systems playing a wide :ariety of music, is, 3;o, they can$t.5 (&mperor<s ;ew =ampling >ate ? "ehrman)

Human &lement of Performance

39omposers ha:e been seduced into an intimate in:ol:ement with electronic hardware and software by the need to grapple with the genie of this medium that continually changes its shape5 Chris Brown Descartes mind4body di:ision was wrong @ mind4body map that see#s to maintain an optimal grip on the world, 'ntercorporeality. Merleau-Ponty Telepresence :s presence Hubert Dreyfus 3' #ind of ha:e an unusual attitude about that issue. ' don$t #now that ha:ing more physical gestures in it is really the way to direct people more to the essence of it.5 John Bischoff

The Hub (and Post4structuralism)

Hub>enga http:88crossfade.wal#erart.org8brownbischoff8hubAteBts8hubrengaAf.html 0essages from the audience used as :oice editing messages that trigger musical e:ents in the system 3the non4hierarchical structure of the networ# encourages multiplicity of :iewpoints, and allows separate parts in the system to function in a :ariety of musical modes5 Bischoff 3The musical system can be thought of as multiple stations, each playing it$s own sub4composition, which recei:e and generate information rele:ant to the real4time impro:isation. ;o one station has an o:erall score.5 Jim Horton 3The players can be :iewed as eBtensions of the networ#5 Bischoff

The Hub as a =ystem

3The HC- is an eBample of musicians wor#ing in an open social system, using computer networ# as a meeting ground. Performing long4distance, they are a band of interacti:e computer music systems.5 (Eds. Paper en!a" 3*e are really trying to let the systematic nature of the electronic systems we are wor#ing with suggest what$s going to happen musically5 #im Per$ins 3*e$re the spo#es and The HC- is the centre5 %cot &resham-'ancaster 3't stops you trying to emote5 #hom (or$e

9rutch :s Tool
Da:e Drolsh: 9rutch :s Tool

9onclusion
The concepts of musical performance and technical performance are in collision as humans find new ways of ma#ing robots and systems perform uni.uely and musical proficiency of humans becomes less important for the realisation of music. >obots impro:ising?

http:88www.youtube.com8watch?:E'=FhPGcctwH