Telematic performance - Revision history

Phil Morton at 12:59, 23 March 2020

2020-03-23T12:59:02Z

Phil Morton: /* Performers and researchers work to overcome the following obstacles,: */

2020-03-23T12:55:04Z

‎Performers and researchers work to overcome the following obstacles,:

Phil Morton: /* Performers and researchers work to overcome the following obstacles: */

2020-03-23T12:43:21Z

‎Performers and researchers work to overcome the following obstacles:

Phil Morton at 12:42, 23 March 2020

2020-03-23T12:42:20Z

Phil Morton at 09:12, 23 March 2020

2020-03-23T09:12:41Z

Phil Morton: Created page with "This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]" This mediawiki site, a `wiki dictionary`..."

2020-03-23T09:11:26Z

Created page with "This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]" This mediawiki site, a `wiki dictionary`..."

New page

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

The term telematic performance refers to a live performance (art, dance, music, etc.) which makes use of [https://en.wikipedia.org/wiki/Telecommunication Telecommunications] and [https://en.wikipedia.org/wiki/Information_technology information technology] to distribute the performers between two or more locations.

While this may involve use of conventional [https://en.wikipedia.org/wiki/Videotelephony videoconferencing technology], it has more recently come to mean the use of internet technologies. Performance groups my also refer to their events as internet concerts, online jamming, or teleconcerts.

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]

__FORCETOC__

[[Category:Telematic performance]

← Older revision		Revision as of 12:59, 23 March 2020
Line 21:		Line 21:
	#'''Video latency''': Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.		#'''Video latency''': Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
	#'''Audio/video synchronization''': In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.		#'''Audio/video synchronization''': In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.
		+
		+	==See Also==
		+
		+	* [https://www.improvisersnetworks.online/resources/telematic-improvisations Telematic improvisations and file sharing at improvisers online website]

@@ Line 17: / Line 17: @@
 # This section is copied from wikipedia
-#Audio latency: Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
+#'''Audio latency''' : Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
-#Echo cancellation: Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
+#'''Echo cancellation''': Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
-#Video latency: Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
+#'''Video latency''': Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
-#Audio/video synchronization: In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.
+#'''Audio/video synchronization''': In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.

@@ Line 14: / Line 14: @@
 [https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]
-== Performers and researchers work to overcome the following obstacles:==
+== Performers and researchers work to overcome the following obstacles,:==
 #Audio latency: Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
 #Echo cancellation: Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.

← Older revision		Revision as of 12:42, 23 March 2020
Line 13:		Line 13:

	[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]		[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]
		+
		+	== Performers and researchers work to overcome the following obstacles:==
		+
		+	#Audio latency: Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
		+	#Echo cancellation: Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
		+	#Video latency: Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
		+	#Audio/video synchronization: In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.

← Older revision		Revision as of 09:12, 23 March 2020
Line 17:		Line 17:
	__FORCETOC__		__FORCETOC__

−	[[Category:Telematic performance]	+	[[Category:Telematic performance]]