The Avatar Orchestra Metaverse is a global collaboration of composers, artists and musicians that approaches the virtual reality platform Second Life as an instrument itself. The Orchestra conceives, designs and builds its own virtual instruments, making it possible for each individual performer in the Orchestra to trigger sounds independent from one another and to play together in real time. These instruments feature sound, visuals, and animations. A performance of a jumping, hovering, floating, dancing, and twirling Avatar Orchestra Metaverse is a truly spectacular event.

Avatar Orchestra performs regularly in Second Life and in mixed reality events at new media, music and visual arts centres in North America, Europe and Asia.

Thursday, September 18, 2014

AOM at the Network Music Festival, Birmingham, UK September 28, 2014


Avatar Orchestra Performance

Sunday, September 28, 2014Network Music Festival, Birmingham, UK



Works by Björn Eriksson, Tina M Pearson and Norman Lowrey

Ten composers, artists and musicians spread through Europe and North America meet in a networked virtual world. There, together as avatars, they design and play new otherworldly virtual instruments while experimenting with identity, perception, telepathy and collectivity. The instruments determine movement, audio emissions, and the release of particles and textures that give visual indications of sounds made independently by individual players in real time. There is no streaming involved – the performance is created completely within the networked 3-D environment world Second Life.

Bjorn Eriksson's Fragula moves from granulated sine waves, square waves and sawtooth-shaped sounds through arpeggiated synthetic figures into samples of an old harmonium with imprecise playing. Each sound control triggers a specific small or big movement and animation of the avatar, while exploding each avatar’s sound sack into colour.

PwRHm: Breathing the Network Electric by Tina M Pearson uses two sets of sine tones tuned to the harmonic series of the AC currents of North America and Europe. Separated by continents, AC frequencies and instrument sets, the two groups of performers play according to their individual breath rhythms while exploring sonic phenomena effects and the pure just intoned sonic relationships that occur when they meet within the 3-D virtual world. A separate set of instruments built on the processed field recordings of electric motors from each continent gives added possibilities.

In Whirled (Trance) Formations by Norman Lowrey invites performers to transform themselves through Singing Masks as "vehicles of transformation." The result is a spontaneously playful shaping of sound, light, and motion, using virtual mask instruments to connect with alternate realities, modes of cognition, or underlying fabrics of energies.

PERFORMERS

BlaiseDeLaFrance Voom (Biagio Francia), Agropoli, Italy 
Frieda Korda (Frieda Kuterna), Antwerp, Belgium)
Groucho Parx (Brenda Hutchinson), San Francisco, USA
Gumnosophistai Nurmi (Leif Inge), Oslo, Norway
Humming Pera (Tina M Pearson), Victoria, Canada
Maxxo Klaar (Max D. Well), Regensburg, Germany
Miulew Takahe (Björn Eriksson), Sollefteå, Sweden
North Zipper (Norman Lowrey), New Jersey, USA
Paco Mariani (Chris Wittkowsky), Regensburg, Germany
Zonzo Spyker (Viv Corringham) (New York, USA)

Virtual set by Frieda Kuterna, Liz Solo, Tina Pearson and Norman Lowrey
Virtual Instruments built by Andreas Mueller and Norman Lowrey
Animations by Andreas Mueller, Tim Risher and Norman Lowrey
Performed at Odyssey Art and Performance Simulator in Second Life

Scenes from the Vector Game and Art Convergence Festival



February 23, 2014 

Avatar Orchestra performance 

at Interaccess Video Centre in Toronto, Canada.


Bringing the virtual world to the Interaccess performance space.
Kimberly Koronya, Tina Pearson, Diana Paulsen (camera)
corner set up with 2 screens - 1 showing HUDS and interface

Helicopter / Avatar Duo


Skot Deeming, setting up the video stream into Second Life.



"Fragula", in front of rotating skyscrapers set














Wednesday, February 12, 2014

AOM at Vector Game Art Festival




The Avatar Orchestra Metaverse has been invited to present a live performance at the Vector Game Art Festival in Toronto, Canada on February 23, 2014.


In preparation for this event, the AOM collective's globally networked mind has pulled together ideas from its almost seven years' of working together to create a story that links its soundart and music origins with the virtual possibilities of networked performance art, theatre, games, and breath-guided telematics. 





"For this special performance, debuting at Vector 2014, the AOM’s Humming Pera (aka Tina Pearson) will be conducting the performance live at Interaccess, with seven other members of the Orchestra dialling  in from around the world to perform with virtual helicopters and custom designed audiovisual instruments inside a whimsical virtual environment. This special performance will feature new collaborations created by the Orchestra specifically for the Vector Game Art Festival, and will include a live video stream of the audience on screen within the virtual environment, inviting interaction and awareness between the telematic performers and their spectators.

Team Vector is very excited for this unique performance, which pushes the boundaries of online interaction, the utility of MMOs and our aural perceptions of virtual environments."

Live Performers 

Frieda Korda, aka Frieda Kuterna (Antwerp, Belgium)
Groucho Parx, aka Brenda Hutchinson (Brooklyn & San Francisco, USA)
Gumnosophistai Nurmi, aka Leif Inge (Oslo, Norway)
Humming Pera, aka Tina M. Pearson (Victoria, BC, Canada)
Lizsolo Mathilde, aka Liz Solo (St. John's, Nfld., Canada)
Maxxo Klaar, aka Max D. Well (Regensburg, Germany) 
Miulew Takahe, aka Björn Eriksson (Sollefteå, Sweden)
Paco Mariani, aka Chris Wittkowsky (Regensburg, Germany)

Compositional elements and/or custom instruments by

Miulew Takahe, aka Björn Eriksson (Sollefteå, Sweden) Composition
Humming Pera, aka Tina M. Pearson (Victoria, BC, Canada) Composition, Instruments
Bingo Onomatopoeia, aka Andreas Müller (Regensburg, Germany) Composition, Instruments
North Zipper, aka Norman Lowrey (New Jersey, USA) Composition, Instruments
Gumnosophistai Nurmi, aka Leif Inge (Oslo, Norway) Composition
Frieda Korda, aka Frieda Kuterna (Netherlands) Instruments
Wirxli FlimFalm (late), aka Jeremy Owen Turner (Vancouver, BC, Canada) Composition

Storyline 

Maxxo Klaar, aka Max D. Well (Regensburg, Germany) 
Frieda Korda, aka Frieda Kuterna (Netherlands)
Gumnosophistai Nurmi, aka Leif Inge (Oslo, Norway)
Humming Pera, aka Tina M. Pearson (Victoria, BC, Canada)



xoxo

Thursday, November 14, 2013

3Bears Arts Show presents AOM





November 19, 2013 at 1 PM SLT

Odyssey Performance and Art Simulator


The 3Bears Foundation For the Interactive Arts exists "to encourage the creation of high-quality art and design, specifically those which interact in some way with the avatars within Second Life."


PROGRAM 

FRAGULA    (2007)
Composed by Björn Eriksson (aka Miulew Takahe), Sollefteå, Sweden
Instruments an Animations by Andreas Müller (aka Bingo Onomatopoeia), Regensburg, Germany

One of the major ideas about this piece is to have the orchestra to wander from a fragile and fragmented digital synthesized sound texture into a more analog acoustic and not so fragmented sound texture, and then come back to where it all started. This is aurally symbolized in the granulated synthesized sounds of sine waves, square waves and sawtooth shaped sounds.

2 JOHN   (2010)
Composed by Viv Corringham (aka Zonzo Spyker), Minneapolis, USA / London, UK
Instruments and Animations by Norman Lowrey (aka North Zipper), New Jersey, USA

2 John uses fast and slow time scales simultaneously. At the start of the piece we are breathing as slowly as we can and playing sounds -or "scribbling"- as fast as we can. It is dedicated to the late British improviser John Stevens, who wrote a piece "2 Albert" that uses the term "scribbling" for very fast improvising without knowing what sounds you're going to make.


ALEATRICITY   (2008)
Composed by Andreas Müller (aka Bingo Onomatopoeia), Regensburg, Germany
Instruments and Animations by Andreas Müller (aka Bingo Onomatopoeia), Regensburg, Germany)

This piece uses only samples generated by circuit-bent instrument and homemade oscillators.
Thus, these sounds cannot be assigned to a definite pitch or scale, they seem aleatoric at first glance.
But upon a closer look at the technology of their electronic generation, one quickly realizes that they are not at all: they are created by unambiguous laws of digital logic, following simple yes/no decisions.

Set design by Frieda Kuterna (aka Frieda Korda), Antwerp, Belgium


PERFORMERS

Miulew Takahe, aka Björn Eriksson (Sollefteå, Sweden)
Zonzo Spyker, aka Viv Corringham (Minneapolis, USA / London, UK)
Humming Pera, aka Tina M. Pearson (Victoria, BC Canada)
Maxxo Klaar, aka Max D. Well (Regensburg, Germany)
Groucho Parx, aka Brenda Hutchinson (Brooklyn & San Francisco, USA)
Paco Mariani, aka Chris Wittkowsky (Regensburg, Germany)
BlaiseDeLaFrance Voom, aka Biago Francia (Agropoli, Italy)
Cajska Carlsson, aka Simon Jones (Liverpool, UK)
Frieda Korda, aka Frieda Kuterna (Antwerp, Belgium)


                                                                                                        



Thursday, September 12, 2013

Deep Listening in Cyberspace



On July 12, 2013, the Avatar Orchestra Metaverse presented a workshop and performance at the First International Deep Listening Art / Science Conference at the Experimental Media and Performing Arts Centre (EMPAC) in Troy, New York.

It was an honour to be part of this astonishing gathering of listeners, thinkers, educators, researchers and artists. This was a particularly exciting event for the six AOM members who were at the conference, many meeting in person for the first time. Bjorn Eriksson traveled to Troy from Sweden; Tina Pearson from Victoria, Canada; Brenda Hutchinson and Viv Corringham from New York, Norman Lowrey from New Jersey and Pauline Oliveros came from her nearby home in Kingston, New York.


PROGRAM

Wish You Were Here by Brenda Hutchinson

Breathing with PwRHmby Tina Pearson

In Whirled Trance Formations by Norman Lowrey
with live performance of Singing Masks by Norman Lowrey

Interactions - Questions with Audience

Set design and construction by Frieda Kuterna and Norman Lowrey
Instruments built by Andreas Mueller and Norman Lowrey
Animations by Tim Risher and Norman Lowrey
Second Life site: Odyssey Art and Performance Simulator
Thanks to Liz Solo

AOM - Wish You Were Here. Set by Frieda Kuterna

PERFORMERS

BlaiseDeLaFrance Voom, aka Biagio Francia (Agropoli, Italy) 
Cajska Carlsson, aka Simon Jones (Liverpool, United Kingdom)
Frieda Korda, aka Frieda Kuterna (Regensburg, Germany)
Groucho Parx, aka Brenda Hutchinson (Brooklyn & San Francisco, USA) - onsite
Humming Pera, aka Tina M. Pearson (Victoria, BC, Canada) - onsite
Maxxo Klaar, aka Max D. Well (Regensburg, Germany) 
Miulew Takahe, aka Björn Eriksson (Sollefteå, Sweden) - onsite
North Zipper, aka Norman Lowrey (New Jersey, USA) - onsite
Paco Mariani, aka Chris Wittkowsky (Regensburg, Germany)
Zonzo Spyker, aka Viv Corringham (Minneapolis, MN, USA / London, UK) - onsite

Brenda Hutchinson, Norman Lowrey, Viv Corringham, Bjorn Eriksson, Tina Pearson
at EMPAC with Second Life screen in background, preparing for performance.

Monday, June 3, 2013

AOM Benefit for Odyssey June 14, 2013


AOM presents

A Benefit for Odyssey

Friday June 14, 12 noon SLT

Odyssey Art and Performance Simulator has housed a remarkable array of artists who are pushing the edges of art and identity in the virtual world Second Life.

The Avatar Orchestra Metaverse began at Odyssey in 2007, and is rehearsing there now in preparation for its July 2013 performance at the first annual Deep Listening Art and Science Conference in Troy, New York.

Odyssey is funded by the artists who use it, and is voluntarily managed currently by artist Liz Solo. AOM is excited to host this event to help raise funds for Odyssey's continued existence, to thank Liz and previous managers (Sugar Seville and Fau Ferdinand) and to reflect on our shared time in Second Life together .

We invite you to immerse yourself with AOM
Friday June 14, 12 noon SLT
at Odyssey ... 

... where you will be greeted individually, serenaded by the ethereal tones of AOM voices and instruments and invited to join us ...

... lounging, breathing, sounding, and bouncing around with flying fruit, giant chickens and other fantastic creations designed by AOM set builder Frieda Kuterna aka Frieda Korda. In exchange for donations to Odyssey, you will receive a unique AOM instrument conceived by vocalist-sound artist Viv Corringham aka Zonzo Spyker and built by AOM luthier extraordinaire Norman Lowrey aka North Zipper.

See you there!



Saturday, December 29, 2012

NYE 2012 – Overnight for Dreaming Avatars




From Monday Dec. 31 at 2:00pm Second Life Time 
to Tuesday Jan. 1, 2013 6 am SLT
(SLT = Pacific Time Zone)

In Parallel: Dreaming into Alternate Universes 

with Norman Lowrey aka North Zipper

A Virtual Celebration of the New Year Across 9 Time Zones.

Join us for the closing ceremony of Ione’s 17th Annual Dream Festival 
in an overnight celebration of the New Year in Second Life.

You are invited to log on at any time, receive a Dreaming/Sleeping Cap animation
for your Avatar, sound Dreaming into Alternate Universes instruments, and dream
together with us from Central European Time (CET) to Pacific Time.

We recommend that you log on early and simply leave your Avatar in its Dreaming
state if you have to actually be at a live party or engage in real life sleep!

We’ll be meeting at the Odyssey Arts site, location of their recent End of the World
event: http://maps.secondlife.com/secondlife/Odyssey/145/201/352

You can also contact North Zipper (aka Norman Lowrey) for teleportation to the
site. If you have any questions contact Norman Lowrey at nlowrey@drew.edu.

Friday, December 21, 2012

AOM at Odyssey Performance Festival December 21 2012




To celebrate the new long cycle beginning this day
The Avatar Orchestra Metaverse performs at the Odyssey Performance Art Festival

December 21, 2012, 10 am SLT at the AOM space at Odyssey in Second Life

and projected live at 
Museum Sorgdrager, Ameland (The Netherlands) 
and at the Black Bag Media Collective Studio, St. John’s, Newfoundland (Canada)

New Mayan-inspired mask instruments designed by Norman Lowrey will be shared with Second Life audience, and will introduce a seamless sound trip as only AOM can deliver.
With additional instrumental mixes conceived and/or built by AOM members Andreas Mueller, Pauline Oliveros, Viv Corringham, Bjorn Eriksson, Shintaro Miyazaki, Sachiko Hayashi and Tina Pearson and with elements from the work of Stelarc. Set by Frieda Kuterna.

For full Festival details:
and

Monday, July 16, 2012

AOM at the Newfoundland Sound Symposium


Avatar Orchestra Metaverse
Liz Solo and Tina Pearson

Long Shoreman's Protective Union Hall
St John's Newfoundland
Saturday, July 14, 2012
3:30 PM local

PROGRAM

Fragula by Bjorn Eriksson, Solleftea, Sweden (2007)

Aleatricity by Andreas Mueller, Regensburg, Germany (2009)

PwRHm by Tina Pearson, Victoria, BC, Canada (2008)

In This Far Now by Tina Pearson, Victoria, BC, Canada and Liz Solo, St. John’s, Newfoundland, Canada with contributions from Frieda Kuterna, Max D Well, Norman Lowrey and the Avatar Orchestra Metaverse (2012)

PERFORMERS

Telematically via Second Life

Andreas Müller (Bingo Onomatopoeia), Regensburg, Germany
Frieda Kuterna (Frieda Korda), Regensburg, Germany
Brenda Hutchinson (Groucho Parx), San Francisco, USA
Liz Solo (Lizsolo Mathilde), St John’s Newfoundland, Canada
Max D. Well (Maxxo Klaar), Regensburg, Germany
Bjorn Eriksson (Miulew Takahe), Solleftea Sweden
Tina M. Pearson (Humming Pera), Victoria, BC, Canada
Norman Lowrey (North Zipper), New Jersey, USA
Chris Wittkowsky (Paco Mariani), Regensburg, Germany
Viv Corringham (Zonzo Spyker, Minneapolis, MN, USA / London, UK)

Onsite
Liz Solo (virtual instruments, virtual camera, voice, movement)
Tina M Pearson (virtual instruments, conducting, voice, accordion)

P R O G R A M   N O T E S   and   B I O S


Fragula


Composition and sound samples by Bjorn Eriksson.
Instrument design, animations and receivers by Andreas Mueller.
Fragula, a play with the words “fragment”, “fragile”, “fragula” and “Dracula”, was one of the first pieces of AOM, and continues to be a widely performed signature piece. One of its major ideas is to have the orchestra to wander from a fragile and fragmented digital synthesized sound texture into a more analog acoustic and not so fragmented sound texture, and then come back to where it all started. This is aurally symbolized in the granulated synthesized sounds of sine waves, square waves and sawtooth shaped sounds. Arpeggiated synthetic figures then gradually transform into the sounds of an old harmonium with imprecise playing.  A time stretched harmonium provides a transitional sound between the digital and analog sound sources. 
Three sets of instruments are played simultaneously, creating chordal sound textures.  

Björn Eriksson (Sweden) is a musician, composer and sound artist. He studied electronic engineering and music, and practiced professional sound engineering in Stockholm. He further explored the field of radio art, field recording and electoacoustic music. He teaches sound and internet media art and has been involved in various networked collaborative sound art and music projects and collectives such as Tapegerm Collective, Locus Sonus, sobralasolas!, .microsound, Placards, Vickys Mosquitos, nomusic sometimes under the artist names of International Garbageman and Miulew. He is also one of the forming members of MäAM and Avatar Orchestra Metaverse (AOM) where he composed two pieces called respectively Rue Blanche and Fragula.

Aleatricity


Composition, instruments, particles and set by Andreas Mueller.
Aleatricity is 200 years of science, technology and cultural history put into a noisy little piece, with Frankenstein as the glue sticking it all together. Aleatricity uses only samples generated by circuit-bent instrument and homemade oscillators. Thus, these sounds cannot be assigned to a definite pitch or scale, they seem to be aleatoric at first glance. But upon a closer look at the technology of their electronic generation, one quickly realizes that they are not: they are created by unambiguous laws of digital logic, following simple yes/no-decisions. This is reflected in the title: "Aleatricity" is a blend of "aleatoric" (random) and "electricity", two words whose close relation is being illustrated by the visual realization in Second Life: the accidental discovery of the nerve-system by Luigi Galvani and the act of writing against the boredom of a rainy summer by Mary Shelley, which procreated the world's first science-fiction novel "Frankenstein" are brought into a visual and acoustic relation which exemplifies that seemingly unconnected things are often closely related.

Andreas Mueller, member of the media-art group Pomodoro Bolzano, started exploring the sonic universe with a tape recorder during elementary school, when he tried out things from a book on tape-experiments from the school's library. During his teenage years in the eighties, while playing guitar in noisy bands, he started publishing experimental tracks through the international tape-trader scene. Despite detours into other fields of art his focus has stayed on audio-art, performing mainly under the name Transponderfish. He has made computer-aided music for more than 20 years, and his background in both Linguistics and research programming fuel his unique perspective. With his avatar Bingo Onomatopoeia he researches the creative potential of the virtual reality in Second Life: by networking, collaborating with other artists, building instruments for the Avatar Orchestra Metaverse and by performing. Recently he built a large-scale interactive media-installation for the Regensburg high-school Von-Müller-Gymnasium, both as artist with Pomodoro Bolzano, as well as a programmer, custom building the required software in Processing.

PwRHm


Composition, instrument design and sine tones by Tina Pearson
Instrument design, construction and processed field recordings by Andreas Mueller.
Particle receiver and set for first version by Sachiko Hayashi
Commissioned by the Deep Listening Institute, 2008
PwRHm explores electricity and connectivity through the relationship of two sets sine tones tuned to the harmonic series of the Alternating Currents of the North American (60 Hz) and European/Asian (50 Hz) electric systems; modified field recordings of electric motors and generators from each continent; and the live breath rhythms of the globally dispersed players. Each avatar/player plays one or more instruments according to their present geographic location to create the soundworld of the piece, with breath rhythms determining pacing and intensity. The main group of players sounds two sets of sine tones juxtaposed, offering an intimate exploration of the insides of a just minor third, and the resulting textures of beats and difference tones. Two soloists play a selection of tuned generator and motor sounds. The piece is a question about the possibilities of musical expressiveness with such pared down materials in a context of telematic conducting and improvisation in a visually charged environment, ie) can we meet like this and make a new kind of wired music?


In This Far Now (A Cyber Song of Longing)


Composition: Liz Solo and Tina Pearson
Virtual Singing Masks and animations: Norman Lowrey
Set design: Frieda Korda and Max D Well
Texts: Liz Solo, Tina Pearson, Frieda Kuterna, Max D Well, Bjorn Eriksson
In This Far Now is an evolving story in mixed form inspired by a collective realization of the depth of our journey in hybrid realities. Having met in the virtual world of Second Life, Liz Solo and Tina Pearson meet here in St John’s to move forward their mutual questions about where the virtual and non-virtual meet, where they differ and if there is a difference. Within the “home” and safety of the Avatar Orchestra Metaverse’s strongly developed telematic improvisation skills, the onsite performers and virtual performers attempt a kind of hybrid communication using gesture, sound, voice, text and memory. While becoming increasingly digitized, hybridized and wired in many aspects of their lives, the artists also draw upon a recognition of pervasive longing, for a real or imagined past, present or future that has had a significant influence on their work.

Norman Lowrey is a mask maker/composer, Chair of the Music Department at Drew University with Ph.D. from the Eastman School of Music. He is the originator of Singing Masks, which incorporate flutes, reeds, ratchets and other sounding devices. He has presented Singing Mask ceremony/performances at such locations as Plan B and SITE Santa Fe in Santa Fe New Mexico, Roulette and Lincoln Center in New York, and at the site of pictograph caves outside Billings, Montana. His most recent work has been making virtual versions of his masks for use by the Avatar Orchestra Metaverse online in Second Life. http://www.users.drew.edu/nlowrey/

Frieda Kuterna (Antwerp, Belguim) and Max D. Well (Regensurg) are media artists who collaborate and perform in multi media platforms as the “Vireal Couple’ ∞Compagnous de Route∞, researching the UniMetaInterTransVerse, the fringes between real and virtual life, vireality and constant neuropuncture. Max D Well is also a member of the Pomodoro Bolzano media art Collective in Regensburg, Germany, investigating Media and Performance Art, Multiple Avatars, Scouting, Manouver and Networking, Expanded media projects and Pataphysics. Frieda Kuterna is an actor and a costume, fabric and photo artist whose work has been seen in gallery spaces and sets in “real” and networked platforms. http://www.pbspace.de/

Liz Solo is a cross-disciplinary, cross-platform interventionist specializing in performance. She is co-founder and director of the Black Bag Media Collective in St. John's, and is the current manager and Curator of the Odyssey Contemporary Art and Performance Simulator in the online world of Second Life. Liz's band, The Black Bags are preparing to release their first full length recording due in the Fall of 2012 and her multi-media video piece “the machine” is also expected this year. Liz is a member of the online artist collectives the Second Front, the Third Faction and the Avatar Orchestra Metaverse, which she and Tina Pearson bring to Sound Symposium XVI. http://www.lizsolo.com

Tina M Pearson is a composer and musician whose practice juxtaposes sonic phenomena, perception and modes of human interaction. She performs with voice, flute, glass and accordion, and telematically with physical, electronic and virtual instruments. She enjoys creating collaborative projects that play with the boundaries between languages, disciplines and cultures, and between creators, performers and audiences. Her music has been commissioned for dance, video, film, radio and spoken word performances and presented throughout Europe and North America. Tina currently performs with LaSaM, the Avatar Orchestra Metaverse and OPEN ACTIONS.  http://tinapearson.wordpress.com/

Thanks to Milly and Tony, Mike Kean, Black Bag Media Collective, Odyssey Contemporary Art and Performance Simulator, the Newfoundland Sound Symposium and LSPU tech crews, Kathy and Jean, and thanks especially to Lyssa Pearson. 

All photos from onsite screen shots during live performance in St. John's by Lyssa Pearson.