Using game theory to support the audience participation in digital performances

Authors

DOI:

https://doi.org/10.35699/2317-6377.2020.32675

Keywords:

Digital Performance, Live performance, Game theory

Abstract

Public participation in art performances has been leveraged by the use of technology as a mediating element between the public and artists. However, technological mediation alone may not be enough to ensure effective auditory participation. In this article, we present the performance “ O Chaos das 5 ”, an audiovisual digital performance with a strong technological support that had the support of game theory to achieve a more effective participation of the audience in their presentations.

Downloads

Download data is not yet available.

Author Biographies

João Teixeira Araújo, Federal University of São João del-Rei, Brazil

Graduated in Computer Science from the Federal University of Viçosa and Master in Computer Science from the Federal University of São João del-Rei. During the course, he worked with sound synthesis implementations via the web (webaudio) and used machine learning techniques in the form of multi-classifiers to distinguish instrument timbres (python/sklearn), as well as convolutional neural networks to classify emotions from processing audio (python/tensorflow). Currently works as a backend Java developer (spring, junit, hibernate, among other frameworks).

Igino de Oliveira Silva Junior, Federal University of São João del-Rei, Brazil

Born in the middle of Ipatinguenses ores. He has completed his degree in Architecture and Urbanism at the Federal University of Ouro Preto (UFOP), with a sandwich period at the teaching institutions University of New Mexico (UNM) and Illinois Institute of Technology (IIT). Master by the Interdisciplinary Postgraduate Program in Arts, Urbanities and Sustainability — PIPAUS (UFSJ). Technician in Informatics from Juscelino Kubitschek Technical School, he currently works as an architect and urban planner in the city of Belo Horizonte.

 

Rômulo Augusto Vieira Costa, Federal University of São João del-Rei, Brazil

Rômulo Vieira is a Master's student in Computer Science at UFSJ, with research focused on the Internet of Musical Things (IoMusT), new interfaces for musical expression, participatory art, and computer networks. Flamengo fan and full-time anti-fascist, he practices music and skateboarding in his spare time.

Marcela Alves de Almeida, Federal University of Espírito Santo

Marcela Alves de Almeida is an architect and Senior Lecturer at the School of Architecture and Urbanism and at the Postgraduate Program in Architecture and Urbanism at Federal University of Espírito Santo, Brazil. She is also a Senior Lecture at the Interdisciplinary Post Graduate Program in Arts, Urbanities and Sustainability (PIPAUS) at the Federal University of São João del-Rei, Brazil. She received a Master’s degree in Architecture from Federal University of Rio de Janeiro (2008) and a doctorate degree in Architecture and Urbanism from Federal University of Minas Gerais, Brazil (2014). Her fields of interest are contemporary architecture, digital technology, design thinking, digital interfaces, responsive environments, arts, contemporary culture, interdisciplinarity and sustainability.

Flávio Luiz Schiavoni, Federal University of São João del-Rei, Brazil

Graduated in Computer Science from UEM (1999), specialization in Web Development from UEM (2004), Master in Computer Science from UEM (2007) and Ph.D. in Computer Science from IME/USP (2013). He is a professor at the Federal University of São João del-Rei and serves as professor in the Graduate Program in Computer Science (PPGCC) and in the Interdepartmental Interdisciplinary Graduate Program in Arts, Urbanities and Sustainability (PIPAUS) of the same institution where coordinates ALICE (Arts Lab in Interface, Computers, and Else) and the Orchidea Collaborative Art Group (Orchestra of Ideas).      

References

Araújo, João Teixeira, Paulo, Avner, Junior, Igino Silva, Schiavoni, Flávio, Canito, Mauro César Fachina, and Costa, Rômulo Augusto Vieira. 2019. A technical approach of the audience participation in the performance ’O Chaos das 5’. In Schiavoni, Flávio, Tavares, Tiago, Constante, Rogério, and Rossi, Régis, editors, Proceedings of the 17th Brazilian Symposium on Computer Music, 28–34, São João del‐Rei ‐ MG ‐ Brazil. Sociedade Brasileira de Computação.

Bin, S. Astrid, Bryan‐Kinns, Nick, and McPherson, Andrew P.. 2016. Skip the Pre‐Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response. In Proceedings of the International Conference on New Interfaces for Musical Expression, volume 16 of 2220‐4806, 200–205, Brisbane, Australia. Queensland Conservatorium Griffith University.

Caillois, Roger. 1990. Os jogos e os homens: A máscara e a vertigem. Editora Cotovia, 1st edition.

Collins, Nick, McLean, Alex, Rohrhuber, Julian, and Ward, Adrian. 2003. Live coding in laptop performance. Organised sound, 8(3):321–330.

de Carvalho Junior, Antonio Deusany, Lee, Sang Won, and Essl, Georg. 2016. Understanding Cloud Support for the Audience Participation Concert Performance of Crowd in C[loud]. In Proceedings of the International Conference on New Interfaces for Musical Expression, volume 16 of 2220‐4806, 176–181, Brisbane, Australia. Queensland Conservatorium Griffith University.

Egozy, Eran and Lee, Eun Young. 2018. *12*: Mobile Phone‐Based Audience Participation in a Chamber Music Performance. In Luke Dahl, Douglas Bowman, Thomas Martin, editor, Proceedings of the International Conference on New Interfaces for Musical Expression, 7–12, Blacksburg, Virginia, USA. Virginia Tech.

Hindle, Abram. 2013. SWARMED: Captive Portals, Mobile Devices, and Audience Participation in Multi‐User Music Performance. In Proceedings of the International Conference on New Interfaces for Musical Expres‐ sion, 174–179, Daejeon, Republic of Korea. Graduate School of Culture Technology, KAIST.

Huizinga, J.. 2010. Homo Ludens. Editora Perspectiva, 6th edition.

Junior, Igino, Schiavoni, Flávio, Siqueira, Adilson, and Almeida, Marcela. 2019. A interatividade d’ ”O Chaos das 5”. In Anais do 5o. Seminário de Artes Digitais 2019.

Lee, Sang Won and Freeman, Jason. 2013. echobo : Audience Participation Using The Mobile Music Instru‐ ment. In Proceedings of the International Conference on New Interfaces for Musical Expression, 450–455, Daejeon, Republic of Korea. Graduate School of Culture Technology, KAIST.

Mazzanti, Dario, Zappi, Victor, Caldwell, Darwin G, and Brogni, Andrea. 2014. Augmented Stage for Partici‐ patory Performances. In NIME, 29–34.

McGonigal, Jane. 2010. TED Talk: Jogando por um mundo melhor.

Rancière, J. and Elliott, G.. 2009. The Emancipated Spectator. Verso.

Rauen, Margie. 2011. Participação: o Ex‐público e o Ativismo. Anais ABRACE, 12(1).

Ribeiro, Fernando Cesar. 2010. Action painting, happening e performance art: da ação como fator significante à ação como obra nas artes visuais. Visualidades, 8(2).

Rocha, Cleomar. 2005. O imaterial e a arte interativa. DOMINGUES, Diana. VENTURELLI, Suzete.(org.). Criação e poéticas digitais. Caxias do Sul: Edusc, 27–31.

Santos, José Mário Peixoto. 2008. Breve histórico da “performance art” no Brasil e no mundo. Revista Ohun, 4(4):1–32.

Taylor, Benjamin. 2017. A History of the Audience as a Speaker Array. In Proceedings of the International Conference on New Interfaces for Musical Expression, 481–486, Copenhagen, Denmark. Aalborg University Copenhagen.

Vieira, Rômulo, de Oliveira Júnior, Igino, Almeida, Marcela, and Schiavoni, Flávio Luiz. 2020. Uma aproximação entre participação do público em espetáculo artístico e jogos: racionalidade e improviso. In Proceedings of SBGames 2020, 116–124, Recife, PE, Brasil. SBC.

Zehnder, Sean and Lipscomb, Scott. 2006. The role of music in video games. Playing video games: motives, responses, and consequences, 241–7.

Downloads

Published

2021-06-21

How to Cite

Araújo, João Teixeira, Igino de Oliveira Silva Junior, Rômulo Augusto Vieira Costa, Marcela Alves de Almeida, and Flávio Luiz Schiavoni. 2021. “Using Game Theory to Support the Audience Participation in Digital Performances”. Per Musi, no. 40 (June):1-13. https://doi.org/10.35699/2317-6377.2020.32675.

Issue

No. 40 (2020): Thematic Session: Computing Performed Music

Section

Articles

License

Copyright (c) 2021 Per Musi

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.