"Composing in the Hybrid Metaverse"
This presentation provides definitions and examples of cross-dimensional thinking, hybrid tech, and metaverse for creative composition in ideas, vision, and sound.
Examples are given for the use of hybrid ideas and technologies in music and visual composition.
Included are individual and collaborative creative compositions taken from a weekly live stream on Twitch.
Participants will:
. See new ways to create, communicate, and collaborate using emergent technologies
. Be inspired to express their own creative ideas in new media.
The document discusses how the creator promoted their 3 media products related to a music genre. They used consistent imagery, colors, and fonts across all products to clearly link them together. Shots from the music video, like an abandoned area and graffiti, were also featured in ancillary texts to tie the narrative and genre conventions together between products. While the products conveyed passion and emotion through their use of lighting effects like fireworks, this could have been better represented in the ancillary texts. Overall, the creator aimed to cohesively engage and represent their chosen genre through shared visual elements across all parts of the promotion.
The document discusses audience research and feedback for a media project focused on the synthpop music genre. The author conducted research on synthpop audiences which found they were primarily 18-24 year olds. They created an online survey to identify potential focus group participants within this demographic who enjoyed synthpop. Three survey respondents were selected for the focus group based on their responses. The focus group provided positive and constructive feedback on the first draft of the author's music video, highlighting specific elements they enjoyed and offering ideas for improvement. Their feedback was incorporated into revising the music video. The focus group also provided feedback on an advertising poster which helped the author further improve it.
The document discusses evaluation questions related to a music product. It describes creating an intentionally "chaotic" and "rushed" brand to appeal to a young, music-focused target audience. Feedback from a focus group was gathered, which confirmed the genre choice and preferred cover art and music video. Adobe Photoshop and Premiere Elements were used to design the cover art, edit together the music video from footage, and promote the video online through YouTube, Facebook and MySpace.
The document discusses evaluation questions related to a music product. It describes creating an intentionally "chaotic" and "rushed" brand to appeal to a young, music-focused target audience. Feedback from a focus group was gathered, which confirmed the genre choice and preferred cover art and music video. Adobe Photoshop and Premiere Elements were used to design the cover art, edit together the music video from footage, and promote the video online through YouTube, Facebook and MySpace.
This document discusses the pre-production process for a music video project merging dubstep and hip-hop genres. It describes researching existing music videos in these genres. A storyboard and shooting schedule were created, and potential locations were scouted. Permission was sought from the artist who created the instrumental track to use it for the project.
The document discusses a student's media project creating a promotional music video for a fictional band. It analyzes the conventions used in music videos and how the student incorporated these conventions into their project. This included using shots of the band performing, camera techniques like zooms, and editing techniques. Feedback on the project was mainly positive, with criticisms around transitions between scenes which the student then improved.
Evaluation Question Three- what have you learned from your audience feedback?Kiera_Herbert
The document provides feedback from various focus groups and questionnaires conducted by the creator of a music video to help improve their project. They learned that their idea was unique and interesting to their target audience. Feedback indicated they should consider lighting, body language, storytelling, and location when filming. The creator incorporated suggestions about using contrasting locations and shots to convey different tones. Overall, receiving audience feedback at various stages helped the creator better understand what their target viewers wanted and allowed them to make beneficial changes to their music video.
The document discusses different types of relationships between lyrics and visuals in music videos, including illustration, amplification, and disjuncture. It then provides tasks and concepts for creating a music video section matching visuals to lyrics in various ways, and exploring these relationships between lyrics and visuals.
The document discusses how the creator promoted their 3 media products related to a music genre. They used consistent imagery, colors, and fonts across all products to clearly link them together. Shots from the music video, like an abandoned area and graffiti, were also featured in ancillary texts to tie the narrative and genre conventions together between products. While the products conveyed passion and emotion through their use of lighting effects like fireworks, this could have been better represented in the ancillary texts. Overall, the creator aimed to cohesively engage and represent their chosen genre through shared visual elements across all parts of the promotion.
The document discusses audience research and feedback for a media project focused on the synthpop music genre. The author conducted research on synthpop audiences which found they were primarily 18-24 year olds. They created an online survey to identify potential focus group participants within this demographic who enjoyed synthpop. Three survey respondents were selected for the focus group based on their responses. The focus group provided positive and constructive feedback on the first draft of the author's music video, highlighting specific elements they enjoyed and offering ideas for improvement. Their feedback was incorporated into revising the music video. The focus group also provided feedback on an advertising poster which helped the author further improve it.
The document discusses evaluation questions related to a music product. It describes creating an intentionally "chaotic" and "rushed" brand to appeal to a young, music-focused target audience. Feedback from a focus group was gathered, which confirmed the genre choice and preferred cover art and music video. Adobe Photoshop and Premiere Elements were used to design the cover art, edit together the music video from footage, and promote the video online through YouTube, Facebook and MySpace.
The document discusses evaluation questions related to a music product. It describes creating an intentionally "chaotic" and "rushed" brand to appeal to a young, music-focused target audience. Feedback from a focus group was gathered, which confirmed the genre choice and preferred cover art and music video. Adobe Photoshop and Premiere Elements were used to design the cover art, edit together the music video from footage, and promote the video online through YouTube, Facebook and MySpace.
This document discusses the pre-production process for a music video project merging dubstep and hip-hop genres. It describes researching existing music videos in these genres. A storyboard and shooting schedule were created, and potential locations were scouted. Permission was sought from the artist who created the instrumental track to use it for the project.
The document discusses a student's media project creating a promotional music video for a fictional band. It analyzes the conventions used in music videos and how the student incorporated these conventions into their project. This included using shots of the band performing, camera techniques like zooms, and editing techniques. Feedback on the project was mainly positive, with criticisms around transitions between scenes which the student then improved.
Evaluation Question Three- what have you learned from your audience feedback?Kiera_Herbert
The document provides feedback from various focus groups and questionnaires conducted by the creator of a music video to help improve their project. They learned that their idea was unique and interesting to their target audience. Feedback indicated they should consider lighting, body language, storytelling, and location when filming. The creator incorporated suggestions about using contrasting locations and shots to convey different tones. Overall, receiving audience feedback at various stages helped the creator better understand what their target viewers wanted and allowed them to make beneficial changes to their music video.
The document discusses different types of relationships between lyrics and visuals in music videos, including illustration, amplification, and disjuncture. It then provides tasks and concepts for creating a music video section matching visuals to lyrics in various ways, and exploring these relationships between lyrics and visuals.
This performance art piece involves using five white pedestals found in a hardware store dumpster in unconventional ways to transform spaces and their meanings. The artist will place the pedestals in public areas normally used for transportation to create interactions where the pedestals and individuals using the space take on changing definitions and meanings. The piece combines theater performance with unexpected spatial changes to explore relationships between objects and people in an environment.
The document discusses how the creator's music video, website, and other products represent conventions of the electronic dance music genre while also challenging stereotypes. Elements like lighting, costumes, settings, and camera work are used to portray themes of isolation and existentialism among urban youth. Color, font, and imagery create a consistent branding and sense of connection across all the products. Shots that establish a sense of place or direct address are meant to engage the target audience of young electronic music fans. Research into other artists informed the use of genre conventions in a way that also presented something new.
This proposal is for a comedy music video called "Wacky Waiting Room Music". The target audience is males aged 18-25 who enjoy silly comedy. The video will tell a linear story of characters in a waiting room creating music from everyday objects. In the first stage, characters are introduced and start a beat. The main character creates a melody for the song. In the third stage, a question is asked that changes the music genre. The schedule outlines weekly tasks from initial research to production, evaluation, and development. Sources cited provide examples of similar comedy music videos and tutorials for skills like green screen removal needed for the project.
The document discusses three alternative color schemes for an album cover. Color Scheme 1 contrasts dark navy, royal blue, and purple with bright yellow, but lacks romantic tones. Color Scheme 2 pairs pink and green tones to represent romance and comedy, but risks looking too feminine. Color Scheme 3 mixes bright, happy colors like red and green that each symbolize different feelings, but risks clashing if not used sparsely. The author's second favorite is Color Scheme 2 due to its balanced representation of the album's themes.
The document summarizes feedback received from peers and focus groups on a music video. The feedback was overall positive and highlighted that the use of chess pieces effectively tied into the song title and message. Peers noted the pacing matched the track well and urban scenery fit music video conventions. However, one focus group member felt the dark opening contrasted too much with the upbeat song. The filmmaker learned audiences interpret elements like lyrics differently and gained ideas to improve their work.
The document describes a student's media production project creating a promotional music video. It discusses conventions used in music videos and how the student incorporated these. Feedback was generally positive but identified issues with transitions. The student learned new software like Adobe Photoshop, Premiere Pro, and Web Plus 10. Overall the project helped the student learn about targeting audiences and representing social groups through media.
This document discusses the media evaluation of a music video created by the author. It begins by outlining the research process, which involved analyzing existing music videos and their conventions to understand what appeals to the target audience. The author then discusses how they both used and challenged certain conventions in their own music video. For example, they featured the artist only through a cameo rather than extensive close-up shots. They also used stop motion animation. The document then analyzes the digipack and advertisement created to promote the music, noting how they link together through shared elements like color scheme. Audience feedback is discussed, which helped the author understand what worked best. Overall, the author believes the combination of their main products and supporting materials was effective
Ste Moore completed an extended project on Dubstep music. They created a Gantt chart to plan their time but fell behind schedule which shortened their timeline. They experienced difficulties finding information, participants for surveys, and learning new software. Their final outcomes were 2 Dubstep tracks and album art, slightly different from their intended 3 tracks. Feedback on the album art and tracks was generally positive but also provided constructive criticism. If they did the project again, they would spend time more productively and plan better to create all 3 intended tracks to a higher standard.
The document discusses how the author used media technologies in the construction, research, planning and evaluation of their media project.
During the research and planning stages, the author utilized various online platforms like YouTube, Twitter, Facebook, and blogs to gather secondary research on their target audience and analyze existing media codes and conventions. Online surveys were also used to collect audience feedback.
The internet and new media allowed efficient research without primary data collection. It also enabled the author to view other media products and be creative while developing original work. Technologies helped with planning timelines, software choices, and identifying minimal financial costs.
The combination of new media and internet platforms facilitated comprehensive research, planning and audience evaluation for the media project.
The document discusses the student's media evaluation of their music video, digipack, and advertisement they created for their media production project.
The student analyzed their work based on various media theories and conventions. They examined how their products used, developed, and challenged existing conventions. They also discussed representation and stereotypes in their work based on Stuart Hall's encoding/decoding theory.
The student analyzed the effectiveness of combining their main products with their ancillary texts. They received feedback from audiences on social media and YouTube that helped them improve their work. The student discussed how they used various media technologies in the research, planning and evaluation stages of their project.
This document summarizes a research paper about the relationship between sound and visuals in animation. The paper analyzes how sound theory can be used to improve storytelling and character animation. It discusses how sound and visuals are interconnected and influence each other. The paper also provides a brief history of sound in animation and explores how sound can be used to visualize stories, characters, and environments. The intended audience is animators and visual artists who want to better understand how to incorporate sound design into their work.
What have you learned from audience feedback?secmedia
The document discusses feedback received from the target audience for a synthpop music video and steps taken to improve the video based on that feedback. The target audience for the synthpop genre and video is 16-25 year olds. Initial feedback noted issues with editing, repetition of shots, and the use of color dust. To address this, the author made edits to improve the energetic flow, variety of shots, storyline continuity, and removed shots that did not fit. Later feedback from the target audience was positive, indicating the improvements made the video more appealing.
The document discusses applying audience theories to a music campaign. It analyzes how encoding/decoding theory, uses and gratification theory, and concepts of preferred/negotiated/oppositional readings relate to the campaign's music video, website, and packaging. Feedback showed the younger focus group had a negotiated reading initially but a preferred reading after changes. The intended meanings were understood but some symbolism was missed due to the group's age.
This critical reflection essay discusses a music promo package the author created for their Advanced portfolio. The package included a music video for the song "Some" by Steve Lacy, in the R&B/soul genre. The author tried to challenge typical representations of femininity in music videos by presenting three female characters in the video in a bold, confident manner without sexualization. Research of other artists informed the author's use of conventions like a green screen background, bold colors, and lack of narrative in the experimental pop music video genre. The music video, website, and digital album packaging work together through consistent imagery, fonts, and colors to create a cohesive brand identity for the artist.
The respondent learned several things from audience feedback on their media products:
1) Feedback helped improve the music video by suggesting adding more static effects and applying effects to additional scenes.
2) Feedback was useful for the advertising poster, suggesting changing too much pink text to white for better focus on the subject.
3) Feedback on the digipak recommended using screenshots instead of images for easier reading of text panels.
4) Overall, the diverse focus group provided varied but useful feedback that helped strengthen the appeal and quality of the media products from different perspectives within the target genre.
The document provides a self-evaluation of the student's audio production project. It discusses several areas: idea generation where the student struggled but ultimately created an audio soundscape incorporating interviews; research which lacked effort and was not very relevant; planning challenges organizing interviews as people dropped out; time management issues where the student had less time than others; meeting the audience and client needs by representing disabilities and creating something unique that addresses mental health issues in young adults.
The document discusses the creation of a music video and promotional materials for Ed Sheeran's song "Lego House." To appeal to both pop and alternative music fans, the creator analyzed conventions of both genres from artists like Amy Winehouse and Kings of Leon. They incorporated conventions from both genres, like close-ups and lip syncing from pop and emotional shots and a darker tone from alternative. Feedback was gathered at various stages to help shape the work to the target audience and ensure the video, advertisement, and album packaging formed a cohesive brand identity through consistent colors, emotions, and styles. Viewers were able to connect the emotions and intentions across the different pieces, showing the brand identity was successfully established.
This proposal outlines a radio talk show final media project. The target audience is ages 10+ and will focus on how different situations affect people's lives. It will feature two hosts and two guests discussing various topics. Music, sound effects, and advertisements will be included to add to the relaxed atmosphere. Research into similar television and radio talk shows will be conducted to inform the production techniques. The project will be produced over 10 weeks, with tasks including experimenting with voices, music, and ads, script writing, recording, and evaluation.
Comparison of forms and conventions with real media productsmimiharris92
The document compares the student's music video to general music video theory and real music videos by Plan B. It finds that:
1) The student's lyrics establish a mood of hurt and sadness that is conveyed through visuals like bird's-eye shots, as general theory predicts.
2) The video's editing reflects the slow tempo of the music.
3) Elements of mise-en-scene, camerawork, and themes from Plan B's prior videos were replicated, demonstrating application of conventions from real music videos.
Comparative screenshots also show similarities in depicting Plan B, female subjects, and prison/law themes to Plan B's previous videos.
This document discusses sustainable event production in Second Life virtual worlds. It argues that recurring events are necessary for sustainability because they attract recurring attention and lead to cumulative growth in interest and support. Impeccable production logistics are also important, including pre-event publicity, well-trained staff to manage events, and post-event publicity. Case studies of successful virtual events in Dublin in SL and iCommons in SL demonstrate how to conduct audience analysis, use checklists to manage logistics, and implement feedback cycles to continually improve events.
Extended Metaverse Workshop in Zoom
from the OpenSimulator Community Conference 2022 Series
This presentation gives multiple operational definitions of the metaverse for participants to adapt and build on for their areas of expertise.
4:40 Presentation
34:00 Dialogue
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Similar to SLIDES & NOTES - VWBPE - Composing in the Hybrid Metaverse 23,24,25-Mar-2023.pdf
This performance art piece involves using five white pedestals found in a hardware store dumpster in unconventional ways to transform spaces and their meanings. The artist will place the pedestals in public areas normally used for transportation to create interactions where the pedestals and individuals using the space take on changing definitions and meanings. The piece combines theater performance with unexpected spatial changes to explore relationships between objects and people in an environment.
The document discusses how the creator's music video, website, and other products represent conventions of the electronic dance music genre while also challenging stereotypes. Elements like lighting, costumes, settings, and camera work are used to portray themes of isolation and existentialism among urban youth. Color, font, and imagery create a consistent branding and sense of connection across all the products. Shots that establish a sense of place or direct address are meant to engage the target audience of young electronic music fans. Research into other artists informed the use of genre conventions in a way that also presented something new.
This proposal is for a comedy music video called "Wacky Waiting Room Music". The target audience is males aged 18-25 who enjoy silly comedy. The video will tell a linear story of characters in a waiting room creating music from everyday objects. In the first stage, characters are introduced and start a beat. The main character creates a melody for the song. In the third stage, a question is asked that changes the music genre. The schedule outlines weekly tasks from initial research to production, evaluation, and development. Sources cited provide examples of similar comedy music videos and tutorials for skills like green screen removal needed for the project.
The document discusses three alternative color schemes for an album cover. Color Scheme 1 contrasts dark navy, royal blue, and purple with bright yellow, but lacks romantic tones. Color Scheme 2 pairs pink and green tones to represent romance and comedy, but risks looking too feminine. Color Scheme 3 mixes bright, happy colors like red and green that each symbolize different feelings, but risks clashing if not used sparsely. The author's second favorite is Color Scheme 2 due to its balanced representation of the album's themes.
The document summarizes feedback received from peers and focus groups on a music video. The feedback was overall positive and highlighted that the use of chess pieces effectively tied into the song title and message. Peers noted the pacing matched the track well and urban scenery fit music video conventions. However, one focus group member felt the dark opening contrasted too much with the upbeat song. The filmmaker learned audiences interpret elements like lyrics differently and gained ideas to improve their work.
The document describes a student's media production project creating a promotional music video. It discusses conventions used in music videos and how the student incorporated these. Feedback was generally positive but identified issues with transitions. The student learned new software like Adobe Photoshop, Premiere Pro, and Web Plus 10. Overall the project helped the student learn about targeting audiences and representing social groups through media.
This document discusses the media evaluation of a music video created by the author. It begins by outlining the research process, which involved analyzing existing music videos and their conventions to understand what appeals to the target audience. The author then discusses how they both used and challenged certain conventions in their own music video. For example, they featured the artist only through a cameo rather than extensive close-up shots. They also used stop motion animation. The document then analyzes the digipack and advertisement created to promote the music, noting how they link together through shared elements like color scheme. Audience feedback is discussed, which helped the author understand what worked best. Overall, the author believes the combination of their main products and supporting materials was effective
Ste Moore completed an extended project on Dubstep music. They created a Gantt chart to plan their time but fell behind schedule which shortened their timeline. They experienced difficulties finding information, participants for surveys, and learning new software. Their final outcomes were 2 Dubstep tracks and album art, slightly different from their intended 3 tracks. Feedback on the album art and tracks was generally positive but also provided constructive criticism. If they did the project again, they would spend time more productively and plan better to create all 3 intended tracks to a higher standard.
The document discusses how the author used media technologies in the construction, research, planning and evaluation of their media project.
During the research and planning stages, the author utilized various online platforms like YouTube, Twitter, Facebook, and blogs to gather secondary research on their target audience and analyze existing media codes and conventions. Online surveys were also used to collect audience feedback.
The internet and new media allowed efficient research without primary data collection. It also enabled the author to view other media products and be creative while developing original work. Technologies helped with planning timelines, software choices, and identifying minimal financial costs.
The combination of new media and internet platforms facilitated comprehensive research, planning and audience evaluation for the media project.
The document discusses the student's media evaluation of their music video, digipack, and advertisement they created for their media production project.
The student analyzed their work based on various media theories and conventions. They examined how their products used, developed, and challenged existing conventions. They also discussed representation and stereotypes in their work based on Stuart Hall's encoding/decoding theory.
The student analyzed the effectiveness of combining their main products with their ancillary texts. They received feedback from audiences on social media and YouTube that helped them improve their work. The student discussed how they used various media technologies in the research, planning and evaluation stages of their project.
This document summarizes a research paper about the relationship between sound and visuals in animation. The paper analyzes how sound theory can be used to improve storytelling and character animation. It discusses how sound and visuals are interconnected and influence each other. The paper also provides a brief history of sound in animation and explores how sound can be used to visualize stories, characters, and environments. The intended audience is animators and visual artists who want to better understand how to incorporate sound design into their work.
What have you learned from audience feedback?secmedia
The document discusses feedback received from the target audience for a synthpop music video and steps taken to improve the video based on that feedback. The target audience for the synthpop genre and video is 16-25 year olds. Initial feedback noted issues with editing, repetition of shots, and the use of color dust. To address this, the author made edits to improve the energetic flow, variety of shots, storyline continuity, and removed shots that did not fit. Later feedback from the target audience was positive, indicating the improvements made the video more appealing.
The document discusses applying audience theories to a music campaign. It analyzes how encoding/decoding theory, uses and gratification theory, and concepts of preferred/negotiated/oppositional readings relate to the campaign's music video, website, and packaging. Feedback showed the younger focus group had a negotiated reading initially but a preferred reading after changes. The intended meanings were understood but some symbolism was missed due to the group's age.
This critical reflection essay discusses a music promo package the author created for their Advanced portfolio. The package included a music video for the song "Some" by Steve Lacy, in the R&B/soul genre. The author tried to challenge typical representations of femininity in music videos by presenting three female characters in the video in a bold, confident manner without sexualization. Research of other artists informed the author's use of conventions like a green screen background, bold colors, and lack of narrative in the experimental pop music video genre. The music video, website, and digital album packaging work together through consistent imagery, fonts, and colors to create a cohesive brand identity for the artist.
The respondent learned several things from audience feedback on their media products:
1) Feedback helped improve the music video by suggesting adding more static effects and applying effects to additional scenes.
2) Feedback was useful for the advertising poster, suggesting changing too much pink text to white for better focus on the subject.
3) Feedback on the digipak recommended using screenshots instead of images for easier reading of text panels.
4) Overall, the diverse focus group provided varied but useful feedback that helped strengthen the appeal and quality of the media products from different perspectives within the target genre.
The document provides a self-evaluation of the student's audio production project. It discusses several areas: idea generation where the student struggled but ultimately created an audio soundscape incorporating interviews; research which lacked effort and was not very relevant; planning challenges organizing interviews as people dropped out; time management issues where the student had less time than others; meeting the audience and client needs by representing disabilities and creating something unique that addresses mental health issues in young adults.
The document discusses the creation of a music video and promotional materials for Ed Sheeran's song "Lego House." To appeal to both pop and alternative music fans, the creator analyzed conventions of both genres from artists like Amy Winehouse and Kings of Leon. They incorporated conventions from both genres, like close-ups and lip syncing from pop and emotional shots and a darker tone from alternative. Feedback was gathered at various stages to help shape the work to the target audience and ensure the video, advertisement, and album packaging formed a cohesive brand identity through consistent colors, emotions, and styles. Viewers were able to connect the emotions and intentions across the different pieces, showing the brand identity was successfully established.
This proposal outlines a radio talk show final media project. The target audience is ages 10+ and will focus on how different situations affect people's lives. It will feature two hosts and two guests discussing various topics. Music, sound effects, and advertisements will be included to add to the relaxed atmosphere. Research into similar television and radio talk shows will be conducted to inform the production techniques. The project will be produced over 10 weeks, with tasks including experimenting with voices, music, and ads, script writing, recording, and evaluation.
Comparison of forms and conventions with real media productsmimiharris92
The document compares the student's music video to general music video theory and real music videos by Plan B. It finds that:
1) The student's lyrics establish a mood of hurt and sadness that is conveyed through visuals like bird's-eye shots, as general theory predicts.
2) The video's editing reflects the slow tempo of the music.
3) Elements of mise-en-scene, camerawork, and themes from Plan B's prior videos were replicated, demonstrating application of conventions from real music videos.
Comparative screenshots also show similarities in depicting Plan B, female subjects, and prison/law themes to Plan B's previous videos.
This document discusses sustainable event production in Second Life virtual worlds. It argues that recurring events are necessary for sustainability because they attract recurring attention and lead to cumulative growth in interest and support. Impeccable production logistics are also important, including pre-event publicity, well-trained staff to manage events, and post-event publicity. Case studies of successful virtual events in Dublin in SL and iCommons in SL demonstrate how to conduct audience analysis, use checklists to manage logistics, and implement feedback cycles to continually improve events.
Extended Metaverse Workshop in Zoom
from the OpenSimulator Community Conference 2022 Series
This presentation gives multiple operational definitions of the metaverse for participants to adapt and build on for their areas of expertise.
4:40 Presentation
34:00 Dialogue
A "mini user case study" was conducted in April 2020 to explore the question, "What’s needed to be attracted to a virtual world and to stay there afterwards?" The results are relevant to virtual presence platform providers moving products from beta through production to broad commercialization, and to their prospective platform users.
Sitearm Madonna is an independent consultant who provides planning, project management, and operations management services for Second Life virtual worlds projects. She is interested in "living structures" that attract regular visitors through other people and interesting content. Successful projects require ongoing events and communications to prevent them from becoming "ghost sims" that are empty despite their builds. Her current project aims to integrate rounded and straight designs with a feeling of fullness to evoke feelings of nostalgia and reminiscence.
Collaboration is a technology. Knowing how to work with what you can and cannot count on from your self and others will ease the typical headaches of teamwork so much that you may even enjoy it.
As a team member and a team leader.
Now and in the future.
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(DSG) Distributed Scene Graph technology for (MOSES) Military Open Simulator ...Siterma The World In 4D
DSG for MOSES
Mic Bowman is a principal engineer in Intel Labs and leads the Virtual World Infrastructure research project. His team develops technologies that enable “order of magnitude” scalability improvements in virtual environments opening the door to new levels of immersiveness and interaction among players.
Douglas Maxwell is Science and Technology Manager for the U.S. Army Research Lab, Simulation and Training Technology Center in Orlando, Florida.
. Discuss - content creation, sharing, value, and protection
. Using - examples from both real life and the creation and management of Dublin Virtually Live as an online space and community
. Able to address with regard to your own career:
+ What is content
+ Content value
+ Examples
+ Challenges
+ Intellectual property protection
. Discuss – challenges of collaborating with people online, project approaches, engaging with outside communities, tools
. Using – project experiences of working in virtual worlds and being a graduate of IOLE
. Able to address with regard to your own career:
+ Team working tips
+ Team presentation tips
+ Community engagement tips
+ Virtual tool tips
The document introduces avatar role play and its uses. Avatar role play involves taking on the identity of an avatar character in a virtual environment. It can be used as an educational technique where learners take on roles to build first-hand experience. When used for education, there needs to be a mediator, characters for students to take on, and pre-agreed learning scenarios. Avatar role play allows for easier separation of one's real identity from their character and provides 3D immersion. Its design needs to consider factors like the subject matter, ages of students, and nature of scenarios. The document discusses how avatar role play can be useful for both adults and teens when used appropriately.
Human: Thank you for the summary. Here
This document discusses supporting teaching in virtual worlds. It provides examples of virtual teaching, including being a tour guide of a city and teaching music lessons. It also outlines virtual teaching tools like notecards, teleporters, and slideshows. The document emphasizes that successful virtual educators understand the virtual medium and optimize both its capabilities and limitations, such as acting as an avatar and artist.
Guest Speaker Presentation, Is One Life Enough class module, Dublin Institute of Technology
Working Together in a Virtual World:
. Experience of working in a virtual world
. Overview of virtual tools
. 3D-Web as a platform for education
. Multiple affiliations and contemporary networking theory
James Neville - Owner, Development One LLC:
. Blog - sitearm.wordpress.com
. Twitter - twitter.com/sitearm
SLCC 2011 - The Future of Commerce in Second Life by Jeff Vogt - SL Vogt LindenSiterma The World In 4D
The document discusses the future of commerce in Second Life. It covers new user registration and growth, the state of the Second Life economy in Q2 including the number of users, exchange rates, and sales volumes. It also outlines upcoming merchant services like direct delivery of virtual goods to a user's inventory and marketplace listings. Business services involving Linden dollars and the Lindex are mentioned as well. The presentation concludes by thanking the audience.
SLCC 2011 - How SL Businesses and Non-Profits Work Together for a Mutually Be...Siterma The World In 4D
Find out how the American Cancer Society's Relay For Life works with SL Businesses for a mutually beneficial relationship. What are the benefits for participating in SL fundraising and how these partnerships can bring positive changes to both parties.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
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KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
My storyboard for a sword fight scene with lightsabers
SLIDES & NOTES - VWBPE - Composing in the Hybrid Metaverse 23,24,25-Mar-2023.pdf
1. Composing in the Hybrid Metaverse
This presentation provides definitions and
examples of cross-dimensional thinking,
hybrid tech, and metaverse with respect to
creative composition in ideas, vision, and
sound. Examples are given for the use of
hybrid ideas and technologies in music and
visual composition. Included are individual
and collaborative creative compositions
taken from a weekly live stream on Twitch.
Participants will see new ways to create,
communicate, and collaborate using
emergent technologies.
Participants will be inspired to express their
own creative ideas in new media.
This presentation shares results from
creative problem solving while live and
online, with others present and observing.
Included are times when compositions fail
and when they succeed - this relates to
finding meaning and interpreting results.
Also, the iterative use of visual and aural
expressions for the same composition -
new ways to approach a solution. Also, the
use of unconventional and conventional
ideas of music theory and metaverse to
make viable new compositions breaking
new ground.
This presentation shares examples of
composing using cross-dimensional
thinking and online presence.
1
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
01 Composing in the Hybrid Metaverse
Ladies and gentlemen and those who identify otherwise, thank you for your presence
at this presentation on Composing in the Hybrid Metaverse.
While I do not necessarily advocate the methods and apps I present today, I do enjoy
sharing them with you and hope that you will enjoy the experience.
2. Composition Elements
● Intelligible
○ Ideas
○ Feelings
● Audible
○ Sound
○ Speech
○ Music
● Visible
○ Color
○ Shape
○ Image
Do It Yourself
● Word to sound
● Sound to composition
INTRO - Composing in the Hybrid Metaverse
Objectives
● See examples of composing in the
hybrid metaverse
● See examples of using
cross-dimensional thinking
● Experience ways to express new ideas
in senses and media
Agenda
● Tell it as a story
● Recreate it as a shared exercise
2
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
● Tasteable
○ Flavors
● Smellable
○ Odors
● Touchable
○ Textures
Our objectives today are to see examples of composing and cross-dimensional
thinking and experiencing new ways to express ideas.
When I think of composition I think of arranging, in a pleasing manner, elements
perceivable by our senses. These elements include ideas, sounds, colors, flavors,
odors, and textures.
When I think of metaverse I think of an evolving ecosystem of physically and digitally
connected apps, and in particular I think of apps allowing instant, online, two-way,
co-creative collaboration.
In this presentation I will share my experiences composing online in Twitch over the
last 3 years, and conclude with inviting you to participate in some group exercises
where we collaboratively compose together.
So we will “Tell it as a story” and “Recreate it as a shared exercise.”
3. Patterns give inspiration
3
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
Image courtesy Passion Astro
APP: Book of Changes <300 BCE Chinese text
for divination
https://www.youtube.com/watch?v=_OWaw7IWFWM
03 Patterns give inspiration
So a long time ago I was writing poetry in the form of 6-line sestets and each line had
an alternating pattern corresponding to the 64 I Ching hexagrams, with some lines
representing dynamic “yang” and some magnetic “yin”.
I went through 2 cycles of these and eventually had a 128 poem collection, some very
good I felt and some OK. But all fitting the pattern of 6 lines with each line having a
consistent length and meter
This slide shows the pattern, “Confining” which has a shorter length in the first, fourth,
and sixth positions. Correspondingly in my poem, if you were to count syllables, my
short lines have eight and my long lines have nine.
So then I thought, how might I put these to music?
I improvised a handful of themes that fit the words and meter and enjoyed them very
much and, again, some I felt were good and some OK.
For example, for the poem shown on the slide, here are the last two lines, long and
short, expressed musically:
~SOUND: 01
WHAT DOES THIS SOUND MAKE YOU THINK OF?
4. TYPE “_your thought here_” or “not sure”
So in this way I returned to something I had done in earlier days but ceased, namely,
attempting to compose music
I decided to use custom scales patterned on 6 because the poems were six lines
long.
And I ended up using pentatonic scales of 5 notes each because well… The best
explanation I can come up with in hindsight is that six lines have five spaces
separating them and I wanted the end line to return to the first line musically - at least
that's what I was trying for back then.
Along the way I ended up using a spreadsheet to lay out possible 5 note scales
because after all there are 12 tones possible
5. Pitch classes give alphabets
4
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: MuseScore software for music composition
and notation
04 Pitch classes give alphabets
This slide shows the twelve tones which sound like this:
~SOUND: 02
WHAT DIRECTION ARE THESE SOUNDS?
TYPE “_your thought here_” or “not sure”
I discovered that “notes” are “pitch classes” because our brains perceive notes as the
same if doubled or halved in frequency, So a low “C” on a tuba sounds like a high “C”
on a flute and so on.
Here let me digress: all the white notes on the piano make what is called a major
scale and if you use 3 black notes instead of 3 white notes you get what is called a
minor scale and these scales are related to each other because they all start on the
same note C. More on that later.
6. Music channels give inspiration
5
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: YouTube online video sharing service for
social media
05 Music channels give inspiration
By this time out of curiosity I began looking for YouTube channels related to music
and I found many of them. Some of my favorites are _12tone_ and
_MusicTheoryForGuitar_. This slide shows their channel thumbnails.
7. Notations give perspectives
6
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: Google Sheets online document editor for
spreadsheets
https://docs.google.com/spreadsheets/d/1OA8PqwQsixBK2a0eJQ-OxqvMA5n7lpBL1A1BT2dPqnY/edit#gid=1712634005
06 Notations give perspectives
I found that traditional notation for chords and music theory started simple and
became, I felt, confusing. So I began to make my own simplified and extended
interpretations
This slide shows C34 and C43 chords which are traditionally called C minor and C
major. But there are a lot of other possible chords, 120 in all, and believe me, I have
enumerated and used them all! *humor*
_12tone_ (the channel) also introduced the idea of one of the notes in a traditional
scale not having a traditional function so _12tone_ made up a suggested name: they
called it “ambivalent.” So I added “ambivalent” to my extended vocabulary.
8. Perspectives give options
7
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
SCALE: hp01 C3443 7710 (heptatonic parallel
minor interval 3, major interval 4)
07 Perspectives give options
By this time I had run across more YouTube music videos and was hearing about
something called “negative harmony” which caught my interest.
In looking I discovered _MusicTheoryForGuitar_ who gave a simple elegant
explanation and demonstration of negative harmony which is that all minor scales are
reflections of major scales and vice versa.
If you draw the major scale on the upper arc of a circle and the minor scale on a lower
arc it looks like positive on the top and negative on the bottom and that's why it's
called negative harmony.
This slide shows the reflected minor and major scales and here is what they sound
like:
~SOUND 03
IF YOU HEAR A DIFFERENCE TYPE “diff”
IF THEY SOUND THE SAME TYPE “same”
IF YOU ARE NOT SURE TYPE “not sure”
9. Hybridizing gives options
8
Eight five-note parallel minor/major scales
SCALE: pp01 C3663 557 (pentatonic parallel
minor interval 3, major interval 6)
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
https://docs.google.com/spreadsheets/d/1jZ04dSSSmYkioE6Z0opwX1kdcR--Kx_UNzMghBnl5ZQ/edit#gid=0
08 Hybridizing gives options
So I had everything I needed: I was going to make 5 note scales and I was going to
make them with a matching major and minor version each and they were going to be
perfect reflections of each other.
Using my trusty spreadsheet I figured out all kinds of possible scales and ended up
picking a core set each with its own major and minor interval.
Here is what one of the new scales sounds like:
~SOUND 04
IF YOU HEAR A DIFFERENCE TYPE “diff”
IF THEY SOUND THE SAME TYPE “same”
IF YOU ARE NOT SURE TYPE “not sure”
Let me rewind a little in the timeline. As I said, I was improvising on my home piano
and in order to write down my ideas I was using Post-it notes and a very awkward
notation writing down each note by hand using letters of the alphabet and numbers
from the number line
So I looked online for a music notation tool that did not cost an arm and a leg - I
10. already knew of one that did cost an arm and a leg - and I found an open source free
version called MuseScore which I use to this day.
With much trepidation I re learned how to enter notes on a traditional music staff.
11. Hybridizing hybridizing gives options
11
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: MuseScore software for music composition
and notation - SOUND LIBRARY
https://www.youtube.com/watch?v=t-o3nneUANw
09 Hybridizing hybridizing gives options
To my joy I found that MuseScore could play the notes back at me at any tempo and
volume I wanted and that I could have more than one line of music playing at the
same time which was not possible for me on the piano.
Furthermore I could change it from the sound of a piano to a clarinet or an oboe and I
could even add drum.
This slide shows a MuseScore composition with four parts and sounds. Here is what it
sounds like:
~SOUND 05
WHAT DOES THIS SOUND FEEL LIKE?
TYPE “_your feeling here_” or “not sure”
So I ended up using my spreadsheet to generate all possible chords for each scale.
But you can't play a spreadsheet so then I made a matching score in MuseScore
which listed all the possible chords for each scale and I could play those scores just
by clicking on them.
12. So now I had a do-it-yourself pick-and-copy chords from the reference score and
paste them into a blank new composition score… and I was off and running.
13. Sharing gives options
10
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: SoundCloud livestreaming service for
sharing prerecorded content
https://soundcloud.com/sitearm-1/shake-trigram-etude-24-24-42
10 Sharing gives options
One other rewind point - I knew that I wanted to share the music I was creating and
the only thing I knew how to do was use YouTube to share videos so I checked out
options like SoundCloud to share audio files.
My first-ever, what I called “Shake Trigram 24 24 42” was posted online. This slide
shows that post and here is part of what it sounds like:
~SOUND 06
WHAT DOES THIS SOUND FEEL LIKE?
TYPE “_your feeling here_” or “not sure”
14. Hybridizing sharing gives options
14
APP: Twitch livestreaming service for sharing live
content - YOUR COLLECTIONS
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: YouTube online video sharing service for
social media - YOUR PLAYLISTS
https://www.youtube.com/@sitearm/playlists?view=50&sort=dd&shelf_id=7 https://www.twitch.tv/sitearm/videos
11 Hybridizing sharing gives options
After sharing some of this story with a colleague and also telling them about how I
had been following Twitch streamers and admiring their skill and their presence
online, my colleague suggested, why don't you stream composing on Twitch.
And so I did.
This slide shows Twitch composing collections I’ve completed so far on the right side,
and corresponding YouTube playlists on the left.
I actually began with a traditional scale and song which I called “Ballad” but I
deliberately used non-traditional chords to tell a story of going from weird to familiar.
The metaphor was being in a battle and recovering and growing from the experience.
Then I launched full bore into the pentatonic parallel scales.
At this time I had given up trying to fit the five note scales to my 6 line poems. They
just didn't match well except for my original tunes which had been composed, it turned
out, in traditional Western methods.
After several series working my way through my 8 different custom scales I began to
15. experiment with combining them.
I used the metaphor of sunlight and shadow where sun casts cloud shadows on the
ground and if you look at the ground there are bright areas and shadowed areas
So I ended up making new improvised-on-the spot parallel scales. Some of them had
4 notes instead of 5 and some had 6 or 3.
I also looked at a traditional song called “To a Wild Rose” and analyzed it and
discovered it was using a variation on the traditional 7 note Western scale where it
had changed 2 of the notes and I loved it so I tried composing with it as well.
16. Visualizing gives options
12
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: Music Animation Machine MIDI (Musical
Instrument DIgital Interface) Player
https://www.youtube.com/watch?v=jmXbUp-xEHM
12 Visualizing gives options
Now let me go back to the issue of sharing my music. I ended up deciding I was going
to have to use YouTube to share the music but just showing a blank screen as music
plays was as bad as SoundCloud just showing a waveform, I felt.
I had a freeware animator that would display the notes in piano roll form so I made
some videos like that.
This slide shows one of those piano roll animated compositions and here is what it
sounds like:
~SOUND 07
WHAT COLOR ARE THE TINKLY SOUNDS?
TYPE “_your color here_” or “not sure”
17. Hybridizing visualizing gives options
13
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
https://sitearm.wordpress.com/2019/03/03/custom-12-tone-rgb-color-palette-using-munsell-color-scale-maximum-chroma/
13 Hybridizing visualizing gives options
The piano roll animator had an option to show notes by color and this got me looking
into creating my own color palette to match pitch classes. This slide shows what I
came up with.
ARE THE COLORS ON THE LEFT THE SAME AS THE COLORS ON THE RIGHT?
IF YOU SEE A DIFFERENCE TYPE “diff”
IF THEY LOOK THE SAME TYPE “same”
IF YOU ARE NOT SURE TYPE “not sure”
18. Synchronizing gives options
18
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: Magic Music Visualizer
https://www.youtube.com/watch?v=LExWDznoMYo
14 Synchronizing gives options
And then I looked for and found an animator that would let you use and create custom
shapes that were driven by and responded to the sound.
This was a joy because in MuseScore I could separate the parts of my music by
different lines and export them each as its own musical actor and then in the
visualizer give each actor its own colored shape.
And they would dance together or act together on the stage, so to speak. And I could
even change the scenes on the stage to transition with the music timeline.
This slide shows one of those custom animations and here is part of what it sounds
like:
~SOUND 08
WHAT DOES THIS SOUND FEEL LIKE?
TYPE “_your feeling here_” or “not sure”
So that brings us up to the relative present day.
Where I am today is that I feel that I'm reasonably comfortable and competent with
19. using 12 tones in different custom and traditional scales.
And taking a set of chords and picking out a pleasant sequence, extracting a melody,
adding ornamentation, adding color and shimmer lines, and making a visual
animation of them.
But as usual we all want more. I wanted to add some kind of 3-D expression and I
was able to download some 3-D elements from Kitely and add them to my music
visualizer where they can rotate and expand and contract in response to the music.
And I've been looking back at Second Life and been amazed by the new custom
synchronized choreographed dances and particle light effect shows now scheduled
regularly.
I've also looked into virtual streaming avatars called “vtubers” and have one that I use
occasionally on my stream for fun.
Her head bobs and turns in response to mine from the webcam and her lips are
synchronized to mine, just as Second Life avatar lips are synced to our own voices.
So there's further to go.
20. Sharing online gives options
20
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
APP: Twitch livestreaming service for sharing live
content - CHAT
15 Sharing online gives options
While streaming live on Twitch I noticed it was a different experience from composing
offline. At any moment I felt somebody could be watching my stream, whether they
typed something in chat or not.
I ended up calling them Silent Lurker because I did find from my after-action stream
reports that there were people on my stream from time to time.
At times some of the people in chat actually said hello and at times I had fun dialogs
with them. For example the Austrian music teacher who used MuseScore to
customize and print scores for his junior high band including his star young girl lead
trumpet.
This slide shows another interactive chat where I got a whole new “aha!”. And I quote,
“this is a studio experience… but over the internet.”
WHAT DOES IT FEEL LIKE CHATTING ONLINE?
TYPE “_your experience here_”
IF YOU ARE NOT SURE TYPE “not sure”
I did some collaborative compositions with members of chat. One provided a
21. soundtrack by email and I animated it live with them looking on and sent the recording
back to them.
I also did collaborative compositions with members of the Renderosity digital art
community who gave me permission to use screenshots of their work in what were
basically animated slideshows using some of my music.
I finally realized I could also combine my music with my video machinima work. For
example recordings of presentations given by myself and others in Second Life for
university students.
This especially highlighted for me the idea of “lead actor” and “accompaniment”
design in a combined sound and sight recording.
Sharing the process of composing has been an enriching experience.
For example, being able to think out loud and work ideas out into a medium while live
and having people with you in the process.
22. When I see live video of myself…
When I listen to what I am saying, as I am
saying it, as if someone else is speaking…
When I set something aside, and look at it /
listen to it again the next day…
When I am streaming live, aware that
someone may be listening…
Now… ow… w…
Feedback gives options
22
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
Image courtesy Marc Evanstein
APP: YouTube online video sharing service for
social media
APP: Twitch livestreaming service for sharing live
content
16 Feedback gives options
Composing music became inextricably entangled with composing presentations. I
found both are creative endeavors and share a similar process of taking an idea from
pure thought to trial drafts to more or less completed work which is then presented.
In the earlier stages I was anxious to not only share what I was doing but to get
feedback. I tried different ways to cajole, evoke, prod, or simply ask for feedback
Some feedback I got was amazing like the piano tuner who said one piece made
them think of a huge automated factory floor with hundreds working in synchrony
Some feedback I got was disconcerting for example what do you want to know why
are you asking me, they would say
Some feedback was unsatisfying like, it sounds somber or it sounds like science
fiction
Finally I realized all the feedback was great because didn't I have a wide array of my
own response to the creative work of others?
This slide shows a composite of my own and another writer’s experiences of
23. composing and feedback. My part of the experience sounds like this:
~SOUND 09
IS IT SAME OR DIFFERENT WORKING WITH SOMEONE ELSE PRESENT?
IF YOU EXPERIENCE DIFFERENT TYPE “diff”
IF YOU EXPERIENCE THE SAME TYPE “same”
IF YOU ARE NOT SURE TYPE “not sure”
I came to realize that feedback is simply information that helps feed forward to
whatever I work on next
Today I feel that each of us are creators who basically work from some inner impetus
that is based, half on memory of the past, and half on some kind of immediate flash
forward insight of what might be possible next
When I said that sharing composing online has been enriching I include pretty much
all areas of my life.
For example seeing all human activity and realms as forms of composition such as
cooking a meal, sewing a textured fabric, compositing a new perfume
Writing a school assignment or preparing a business report
Most recently my attention has been caught adding the dynamic of performing music
live to the dynamic of writing it.
Writing a script and presenting it are 2 sides of a creative process, I feel
Even presenting extemporaneously creates a memory from which we remember a
few good lines that we will repeat the next time we speak on that topic
And I remember with dread the few times I spoke extemporaneously that frankly
sucked because I had not taken the time to think ahead and write down a few good
lines ahead of time
So currently I speculate that having written a few good lines and then repeatedly
presenting them with some spontaneity added generates new energy.
And creates more of that instantaneous flash forward insight of seeing what else
could be possible next
24. Doing something live gives options
24
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
17 Doing something live gives options
[Match the sound to a word…]
For this part I am going to rely on selected volunteers from the audience.
[volunteers step forward]
Everyone please acknowledge our volunteers!
[first volunteer]
Choose one of the buttons on the left side: A, B, C, D, or E.
What button did you choose?
Now click the button you chose to hear its sound.
Can you hear it OK?
Now choose one of the words on the top: Fire, Earth, Metal, Water, Wood.
What word do you choose?
Good! Now I will slide the button you chose under the word you chose. Please stand
under the button and word you chose.
25. [repeat until all volunteers are matched to their buttons and words]
~
[Composition]
Now for our live performance!
The name of our composition is “Feng Shui Elements.”
[“constructive” cycle - shown]
FIRE EARTH METAL
METAL WATER WOOD
[“deconstructive cycle - improvised]
WOOD EARTH WATER
WATER FIRE METAL
[“harmony of yin and yang” - improvised]
FIRE EARTH METAL WATER WOOD
~
Please acknowledge our performers!
26. EXTRO - Composing in the Hybrid Metaverse
In this presentation we shared examples of
composing in the hybrid metaverse and
cross-dimensional thinking.
● What caught your attention?
Methods
● Patterns
● Pitch Classes
● Music Channels
● Notations
● Perspectives
● Hybridizing
● Sharing
● Visualizing
● Synchronizing
Apps
● MuseScore
● YouTube
● Google Sheets
● SoundCloud
● Twitch
● Music Animation Machine
● Magic Music Visualizer
18
Composing in the Hybrid Metaverse - From My World to Yours
jn: 23,24,25-mar-2023
Development One LLC
https://docs.google.com/presentation/d/1zhXsvvpQiDJtxs6_juasrS13xL-Bimhg7zxpP9_C16k/edit?usp=share_link
18 EXTRO - Composing in the Hybrid Metaverse
So now we've reached the end of our brief journey into the adventure of Composing in
the Hybrid Metaverse. I hope you've enjoyed these shared examples of composing
and cross dimensional thinking.
But I hope this is an interim, not a final end! I invite you to use ideas we’ve gleaned
today in further “flash forward” collaborative compositions.
In particular I ask you, what caught your attention?
~~
This concludes our presentation on Composing in the Hybrid Metaverse. Many many
thanks!